16485 lines
762 KiB
Plaintext
16485 lines
762 KiB
Plaintext
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FAR FROM THE MADDING CROWD
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by Thomas Hardy, 1874
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From the Penguin edition, 1978
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CHAPTER I
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DESCRIPTION OF FARMER OAK -- AN INCIDENT
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When Farmer Oak smiled, the corners of his mouth
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spread till they were within an unimportant distance of
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his ears, his eyes were reduced to chinks, and diverging
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wrinkles appeared round them, extending upon his
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countenance like the rays in a rudimentary sketch of
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the rising sun.
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His Christian name was Gabriel, and on working
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days he was a young man of sound judgment, easy
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motions, proper dress, and general good character. On
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Sundays he was a man of misty views, rather given to
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postponing, and hampered by his best clothes and
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umbrella: upon the whole, one who felt himself to
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occupy morally that vast middle space of Laodicean
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neutrality which lay between the Communion people
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of the parish and the drunken section, -- that is, he went
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to church, but yawned privately by the time the con-
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gegation reached the Nicene creed,- and thought of
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what there would be for dinner when he meant to be
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listening to the sermon. Or, to state his character as
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it stood in the scale of public opinion, when his friends
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and critics were in tantrums, he was considered rather a
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bad man; when they were pleased, he was rather a good
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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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Since he lived six times as many working-days as
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Sundays, Oak's appearance in his old clothes was most
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peculiarly his own -- the mental picture formed by his
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neighbours in imagining him being always dressed in
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that way. He wore a low-crowned felt hat, spread out
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at the base by tight jamming upon the head for security
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in high winds, and a coat like Dr. Johnson's; his lower
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extremities being encased in ordinary leather leggings
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and boots emphatically large, affording to each foot a
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roomy apartment so constructed that any wearer might
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stand in a river all day long and know nothing of
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damp -- their maker being a conscientious man who
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endeavoured to compensate for any weakness in his cut
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by unstinted dimension and solidity.
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Mr. Oak carried about him, by way of watch,-
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what may be called a small silver clock; in other
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words, it was a watch as to shape and intention, and
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a small clock as to size. This instrument being several
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years older than Oak's grandfather, had the peculiarity
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of going either too fast or not at all. The smaller
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of its hands, too, occasionally slipped round on the
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pivot, and thus, though the minutes were told with
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precision, nobody could be quite certain of the hour
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they belonged to. The stopping peculiarity of his
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watch Oak remedied by thumps and shakes, and he
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escaped any evil consequences from the other two
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defects by constant comparisons with and observations
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of the sun and stars, and by pressing his face close
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to the glass of his neighbours' windows, till he could
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discern the hour marked by the green-faced timekeepers
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within. It may be mentioned that Oak's fob being
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difficult of access, by reason of its somewhat high
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situation in the waistband of his trousers (which also
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lay at a remote height under his waistcoat), the watch
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was as a necessity pulled out by throwing the body to
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one side, compressing the mouth and face to a mere
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mass of ruddy flesh on account of the exertion, and
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drawing up the watch by its chain, like a bucket from a
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well.
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But some thoughtfull persons, who had seen him
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walking across one of his fields on a certain December
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morning -- sunny and exceedingly mild -- might have
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regarded Gabriel Oak in other aspects than these. In
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his face one might notice that many of the hues and
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curves of youth had tarried on to manhood: there even
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remained in his remoter crannies some relics of the boy.
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His height and breadth would have been sufficient to
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make his presence imposing, had they been exhibited
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with due consideration. But there is a way some men
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have, rural and urban alike, for which the mind is more
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responsible than flesh and sinew: it is a way of curtail-
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ing their dimensions by their manner of showing them.
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And from a quiet modesty that would have become a
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vestal which seemed continually to impress upon him
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that he had no great claim on the world's room, Oak
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walked unassumingly and with a faintly perceptible
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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
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depends for his valuation more upon his appearance
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than upon his capacity to wear well, which Oak did not.
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He had just reached the time of life at which "young"
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is ceasing to be the prefix of "man" in speaking of one.
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He was at the brightest period of masculine growth,
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for his intellect and his emotions were clearly separated:
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he had passed the time during which the influence of
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youth indiscriminately mingles them in the character
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of impulse, and he had not yet arrived at the stage
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wherein they become united again, in the character of
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prejudice, by the influence of a wife and family. In
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short, he was twenty-eight, and a bachelor.
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The field he was in this morning sloped to a
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ridge called Norcombe Hill. Through a spur of this
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hill ran the highway between Emminster and Chalk-
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Newton. Casually glancing over the hedge, Oak saw
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coming down the incline before him an ornamental
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spring waggon, painted yellow and gaily marked,
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drawn by two horses, a waggoner walking alongside
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bearing a whip perpendicularly. The waggon was
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laden with household goods and window plants, and
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on the apex of the whole sat a woman, "young" and
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attractive. Gabriel had not beheld the sight for more
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than half a minute, when the vehicle was brought to a
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standstill just beneath his eyes.
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"The tailboard of the waggon is gone, Miss." said the
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waggoner.
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"Then I heard it fall." said the girl, in a soft, though
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not particularly low voice. "I heard a noise I could
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not account for when we were coming up the hill."
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"I'll run back."
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"Do." she answered.
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The sensible horses stood -- perfectly still, and the
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waggoner's steps sank fainter and fainter in the distance.
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The girl on the summit of the load sat motionless,
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surrounded by tables and chairs with their legs upwards,
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backed by an oak settle, and ornamented in front by
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pots of geraniums, myrtles, and cactuses, together with
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a caged canary -- all probably from the windows of the
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house just vacated. There was also a cat in a willow
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basket, from the partly-opened lid of which she gazed
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with half-closed eyes, and affectionately-surveyed the
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small birds around.
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The handsome girl waited for some time idly in her
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place, and the only sound heard in the stillness was the
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hopping of the canary up-and down the perches of its
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prison. Then she looked attentively downwards. It
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was not at the bird, nor at the cat; it was at an oblong
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package tied in paper, and lying between them. She
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turned her head to learn if the waggoner were coming.
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He was not yet in sight; and her-eyes crept back to
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the package, her thoughts seeming to run upon what
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was inside it. At length she drew the article into her
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lap, and untied the paper covering; a small swing
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looking-glass was disclosed, in which she proceeded to
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survey herself attentively. She parted her lips and
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smiled.
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It was a fine morning, and the sun lighted up to a
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scarlet glow the crimson jacket she wore, and painted
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a soft lustre upon her bright face and dark hair. The
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myrtles, geraniums, and cactuses packed around her
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were fresh and green, and at such a leafless season they
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invested the whole concern of horses, waggon, furniture,
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and girl with a peculiar vernal charm. What possessed
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her to indulge in such a performance in the sight of the
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sparrows, blackbirds, and unperceived farmer who were
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alone its spectators, -- whether the smile began as a
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factitious one, to test her capacity in that art, -- nobody
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knows; it ended certainly in a real smile. She blushed
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at herself, and seeing her reflection blush, blushed the
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more.
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The change from the customary spot and necessary
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occasion of such an act -- from the dressing hour in a
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bedroom to a time of travelling out of doors -- lent to
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the idle deed a novelty it did not intrinsically possess.
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The picture was a delicate one. Woman's prescriptive
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infirmity had stalked into the sunlight, which had
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clothed it in the freshness of an originality. A
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cynical inference was irresistible by Gabriel Oak as he
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regarded the scene, generous though he fain would have
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been. There was no necessity whatever for her looking
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in the glass. She did not adjust her hat, or pat her
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hair, or press a dimple into shape, or do one thing to
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signify that any such intention had been her motive in
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taking up the glass. She simply observed herself as a
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fair product of Nature in the feminine kind, her thoughts
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seeming to glide into far-off though likely dramas in
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which men would play a part -- vistas of probable
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triumphs -- the smiles being of a phase suggesting that
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hearts were imagined as lost and won. Still, this was
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but conjecture, and the whole series of actions was so
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idly put forth as to make it rash to assert that intention
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had any part in them at all.
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The waggoner's steps were heard returning. She
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put the glass in the paper, and the whole again into its
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place.
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When the waggon had passed on, Gabriel withdrew
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from his point of espial, and descending into the road,
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followed the vehicle to the turnpike-gate some way
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beyond the bottom of the hill, where the object of his
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contemplation now halted for the payment of toll. About
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twenty steps still remained between him and the gate,
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when he heard a dispute. lt was a difference con-
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cerning twopence between the persons with the waggon
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and the man at the toll-bar.
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"Mis'ess's niece is upon the top of the things, and
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she says that's enough that I've offered ye, you great
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miser, and she won't pay any more." These were the
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waggoner's words.
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"Very well; then mis'ess's niece can't pass." said the
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turnpike-keeper, closing the gate.
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Oak looked from one to the other of the disputants,
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and fell into a reverie. There was something in the
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tone of twopence remarkably insignificant. Threepence
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had a definite value as money -- it was an appreciable
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infringement on a day's wages, and, as such, a higgling
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matter; but twopence -- " Here." he said, stepping
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forward and handing twopence to the gatekeeper; "let
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the young woman pass." He looked up at her then;
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she heard his words, and looked down.
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Gabriel's features adhered throughout their form so
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exactly to the middle line between the beauty of St.
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John and the ugliness of Judas Iscariot, as represented
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in a window of the church he attended, that not a single
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lineament could be selected and called worthy either of
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distinction or notoriety. The redjacketed and dark-
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haired maiden seemed to think so too, for she carelessly
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glanced over him, and told her man to drive on. She
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might have looked her thanks to Gabriel on a minute
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scale, but she did not speak them; more probably she
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felt none, for in gaining her a passage he had lost her
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her point, and we know how women take a favour of
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that kind.
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The gatekeeper surveyed the retreating vehicle.
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"That's a handsome maid" he said to Oak
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"But she has her faults." said Gabriel.
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"True, farmer."
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"And the greatest of them is -- well, what it is
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always."
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"Beating people down? ay, 'tis so."
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"O no."
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"What, then?"
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Gabriel, perhaps a little piqued by the comely
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traveller's indifference, glanced back to where he had
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witnessed her performance over the hedge, and said,
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"Vanity."
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CHAPTER II
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NIGHT -- THE FLOCK -- AN INTERIOR -- ANOTHER INTERIOR
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IT was nearly midnight on the eve of St. Thomas's, the
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shortest day in the year. A desolating wind wandered
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from the north over the hill whereon Oak had watched
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the yellow waggon and its occupant in the sunshine of
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a few days earlier.
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Norcombe Hill -- not far from lonely Toller-Down
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-- was one of the spots which suggest to a passer-by
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that he is in the presence of a shape approaching the
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indestructible as nearly as any to be found on earth.
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It was a featureless convexity of chalk and soil -- an
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ordinary specimen of those smoothly-outlined protuber-
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ances of the globe which may remain undisturbed on
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some great day of confusion, when far grander heights
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and dizzy granite precipices topple down.
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The hill was covered on its northern side by an
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ancient and decaying plantation of beeches, whose
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upper verge formed a line over the crest, fringing its
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arched curve against the sky, like a mane. To-night
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these trees sheltered the southern slope from the keenest
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blasts, which smote the wood and floundered through
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it with a sound as of grumbling, or gushed over its
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crowning boughs in a weakened moan. The dry leaves
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in the ditch simmered and boiled in the same breezes,
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a tongue of air occasionally ferreting out a few, and
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sending them spinning across the grass. A group or
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two of the latest in date amongst the dead multitude
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had remained till this very mid-winter time on the twigs
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which bore them and in falling rattled against the trunks
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with smart taps:
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Between this half-wooded, half naked hill, and the
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vague still horizon that its summit indistinctly com-
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manded, was a mysterious sheet of fathomless shade
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-- the sounds from which suggested that what it con-
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cealed bore some reduced resemblance to features here.
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The thin grasses, more or less coating the hill, were
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touched by the wind in breezes of differing powers, and
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almost of differing natures -- one rubbing the blades
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heavily, another raking them piercingly, another brushing
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them like a soft broom. The instinctive act of human-
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kind was to stand and listen, and learn how the trees
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to each other in the regular antiphonies of a cathedral
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choir; how hedges and other shapes to leeward them
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caught the note, lowering it to the tenderest sob; and
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how the hurrying gust then plunged into the south, to
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be heard no more.
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The sky was clear -- remarkably clear -- and the
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twinkling of all the stars seemed to be but throbs of
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one body, timed by a common pulse. The North Star
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was directly in the wind's eye, and since evening the
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Bear had swung round it outwardly to the east, till he
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was now at a right angle with the meridian. A
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difference of colour in the stars -- oftener read of than
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seen in England-was really perceptible here. The
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sovereign brilliancy of Sirius pierced the eye with a steely
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glitter, the star called Capella was yellow, Aldebaran and
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Betelgueux shone with a fiery red.
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To persons standing alone on a hill during a clear
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midnight such as this, the roll of the world eastward is
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almost a palpable movement. The sensation may be
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caused by the panoramic glide of the stars past earthly
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objects, which is perceptible in a few minutes of still-
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ness, or by the better outlook upon space that a hill
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affords, or by the wind, or by the solitude; but whatever
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be its origin, the impression of riding along is vivid and
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abiding. The poetry of motion is a phrase much in
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use, and to enjoy the epic form of that gratification it
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is necessary to stand on a hill at a small hour of the
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night, and, having first expanded with a sense of differ-
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ence from the mass of civilised mankind, who are
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dreamwrapt and disregardful of all such proceedings at
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this time, long and quietly watch your stately progress
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through the stars. After such a nocturnal reconnoitre
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it is hard to get back to earth, and to believe that the
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consciousness of such majestic speeding is derived from
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a tiny human frame.
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Suddenly an unexpected series of sounds began to
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be heard in this place up against the sky. They had a
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clearness which was to be found nowhere in the wind,
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and a sequence which was to be found nowhere in
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nature. They were the notes of Farmer Oak's flute.
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The tune was not floating unhindered into the open
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air: it seemed muffled in some way, and was altogether
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too curtailed in power to spread high or wide. It came
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from the direction of a small dark object under the
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plantation hedge -- a shepherd's hut -- now presenting
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an outline to which an uninitiated person might have
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been puzzled to attach either meaning or use.
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The image as a whole was that of a small Noah's
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Ark on a small Ararat, allowing the traditionary outlines
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and general form of the Ark which are followed by toy-
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makers -- and by these means are established in men's
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imaginations among their firmest, because earliest im-
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pressions -- to pass as an approximate pattern. The
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hut stood on little wheels, which raised its floor about a
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foot from the ground. Such shepherds' huts are dragged
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into the fields when the lambing season comes on, to
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shelter the shepherd in his- enforced nightly attendance.
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It was only latterly that people had begun to call
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Gabriel "Farmer" Oak. During the twelvemonth pre-
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ceding this time he had been enabled by sustained
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efforts of industry and chronic good spirits to lease the
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small sheep farm of which Norcombe Hill was a portion,
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and stock it with two hundred sheep. Previously he
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had been a bailiff for a short time, and earlier still a
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shepherd only, having from his childhood assisted his
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father in tending the flocks of large proprietors, till old
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Gabriel sank to rest.
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This venture, unaided and alone, into the paths of
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farming as master and not as man, with an advance of
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sheep not yet paid for, was a critical juncture with
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Gabriel Oak, and he recognised his position clearly.
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The first movement in his new progress was the lambing
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of his ewes, and sheep having been his speciality from
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his "youth, he wisely refrained from deputing -- the task
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of tending them at this season to a hireling or a novice.
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The wind continued to beat-about the corners of the
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hut, but the flute-playing ceased. A rectangular space
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of light appeared in the side of the hut, and in the
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opening the outline of Farmer Oak's figure. He carried
|
||
|
a lantern in his hand, and closing the door behind him,
|
||
|
came forward and busied himself about this nook of the
|
||
|
field for nearly twenty minutes, the lantern light appear-
|
||
|
ing and disappearing here and there, and brightening
|
||
|
him or darkening him as he stood before or behind it.
|
||
|
Oak's motions, though they had a quiet-energy, were
|
||
|
slow, and their deliberateness accorded well with his
|
||
|
occupation. Fitness being the basis of beauty, nobody
|
||
|
could-have denied that his steady swings and turns"
|
||
|
in and- about the flock had elements of grace, Yet,
|
||
|
although if occasion demanded he could do or think a
|
||
|
thing with as mercurial a dash as can the men of towns
|
||
|
who are more to the manner born, his special power,
|
||
|
morally, physically, and mentally, was static, owing
|
||
|
little or nothing to momentum as a rule.
|
||
|
A close examination of the ground hereabout, even
|
||
|
by the wan starlight only, revealed how a portion of
|
||
|
what would have been casually called a wild slope had
|
||
|
been appropriated by Farmer Oak for his great purpose
|
||
|
this winter. Detached hurdles thatched with straw
|
||
|
were stuck into the ground at various scattered points,
|
||
|
amid and under which the whitish forms of his meek
|
||
|
ewes moved and rustled. The ring of the sheep-bell,
|
||
|
which had been silent during his absence, recommenced,
|
||
|
in tones that had more mellowness than clearness, owing
|
||
|
to an increasing growth of surrounding wool. This
|
||
|
continued till Oak withdrew again from the flock. He
|
||
|
-- returned to the hut, bringing in his arms a new-born
|
||
|
lamb, consisting of four legs large enough for a full-
|
||
|
grown sheep, united by a seemingly inconsiderable mem-
|
||
|
brane about half the substance of the legs collectively,
|
||
|
which constituted the animal's entire body just at present.
|
||
|
The little speck of life he placed on a wisp of hay
|
||
|
before the small stove, where a can of milk was simmer-
|
||
|
ing. Oak extinguished the lantern by blowing into it
|
||
|
and then pinching the snuff, the cot being lighted
|
||
|
by a candle suspended by a twisted wire. A rather
|
||
|
hard couch, formed of a few corn sacks thrown carelessly
|
||
|
down, covered half the floor of this little habitation, and
|
||
|
here the young man stretched himself along, loosened
|
||
|
his woollen cravat, and closed his eyes. In about the
|
||
|
time a person unaccustomed to bodily labour would have
|
||
|
decided upon which side to lie, Farmer Oak was asleep.
|
||
|
The inside of the hut, as it now presented itself, was
|
||
|
cosy and alluring, and the scarlet handful of fire in
|
||
|
addition to the candle, reflecting its own genial colour
|
||
|
upon whatever it could reach, flung associations of
|
||
|
enjoyment even over utensils and tools. In the corner
|
||
|
stood the sheep-crook, and along a shelf at one side
|
||
|
were ranged bottles and canisters of the simple prepara-
|
||
|
tions pertaining to bovine surgery and physic; spirits of
|
||
|
wine, turpentine, tar, magnesia, ginger, and castor-oil
|
||
|
being the chief. On a triangular shelf across the corner
|
||
|
stood bread, bacon, cheese, and a cup for ale or cider,
|
||
|
which was supplied from a flagon beneath. Beside the
|
||
|
provisions lay the flute whose notes had lately been
|
||
|
called forth by the lonely watcher to beguile a tedious
|
||
|
hour. The house was ventilated by two round holes,
|
||
|
like the lights of a ship's cabin, with wood slides-
|
||
|
The lamb, revived by the warmth began to bleat"
|
||
|
instant meaning, as expected sounds will. Passing
|
||
|
from the profoundest sleep to the most alert wakefulness
|
||
|
with the same ease that had accompanied the reverse
|
||
|
operation, he looked at his watch, found that the hour-
|
||
|
hand had shifted again, put on his hat, took the lamb
|
||
|
in his arms, and carried it into the darkness. After
|
||
|
placing the little creature with its mother, he stood and
|
||
|
carefully examined the sky, to ascertain the time of
|
||
|
night from the altitudes of the stars.
|
||
|
The Dog-star and Aldebaran, pointing to the restless
|
||
|
Pleiades, were half-way up the Southern sky, and between
|
||
|
them hung Orion, which gorgeous constellation never
|
||
|
burnt more vividly than now, as it soared forth above
|
||
|
the rim of the landscape. Castor and Pollux will
|
||
|
the north-west; far away through the plantation Vega
|
||
|
and Cassiopeia's chair stood daintily poised on the
|
||
|
uppermost boughs. "One o'clock." said Gabriel.
|
||
|
Being a man not without a frequent consciousness
|
||
|
that there was some charm in this life he led, he stood
|
||
|
still after looking at the sky as a useful instrument, and
|
||
|
regarded it in an appreciative spirit, as a work of art
|
||
|
superlatively beautiful. For a moment he seemed
|
||
|
impressed with the speaking loneliness of the scene, or
|
||
|
rather with the complete abstraction from all its compass
|
||
|
of the sights and sounds of man. Human shapes,interferences,
|
||
|
troubles, and joys were all as if they were not, and there
|
||
|
seemed to be on the shaded hemisphere of the globe no sentient
|
||
|
being save himself; he could fancy them all gone round to the sunny side.
|
||
|
Occupied this, with eyes stretched afar, Oak gradually per-
|
||
|
ceived that what he had previously taken to be a star low
|
||
|
down behind the outskirts of the plantation was in reality no
|
||
|
such thing. It was an artificial light, almost close at hand.
|
||
|
To find themselves utterly alone at night where company
|
||
|
is desirable and expected makes some people fearful; but a
|
||
|
case more trying by far to the nerves is to discover some
|
||
|
mysterious companionship when intuition, sensation, memory,
|
||
|
analogy, testimony, probability, induction -- every kind of
|
||
|
evidence in the logician's list -- have united to persuade con-
|
||
|
sciousness that it is quite in isolation.
|
||
|
Farmer Oak went towards the plantation and pushed
|
||
|
through its lower boughs to the windy side. A dim mass under
|
||
|
the slope reminded him that a shed occupied a place here,
|
||
|
the site being a cutting into the slope of the hill, so that at
|
||
|
its back part the roof was almost level with the ground. In
|
||
|
front it was formed of board nailed to posts and covered with
|
||
|
tar as a preservative. Through crevices in the roof and side
|
||
|
spread streaks and spots of light, a combination of which made
|
||
|
the radiance that had attracted him. Oak stepped up behind,
|
||
|
where,leaning down upon the roof and putting his eye close
|
||
|
to a hole, he could see into the interior clearly.
|
||
|
The place contained two women and two cows. By the side
|
||
|
of the latter a steaming bran-mash stood in a bucket. One
|
||
|
of the women was past middle age. Her companion was ap-
|
||
|
parently young and graceful; he could form no decided opinion
|
||
|
upon her looks, her position being almost beneath his eye, so
|
||
|
that he saw her in a bird's-eye view, as Milton's Satan first saw
|
||
|
Paradise. She wore no bonnet or het, but had enveloped her-
|
||
|
self in a large cloak, which was carelessly flung over her head
|
||
|
as a covering.
|
||
|
"There, now we'll go home," said the elder of the two, resting
|
||
|
her knuckles upon her hips, and looking at their goings-on as
|
||
|
a whole. "I do hope Daisy will fetch round again now. I have
|
||
|
never been more frightened in my life, but I don't mind break-
|
||
|
ing my rest if she recovers."
|
||
|
The young woman, whose eyelids were apparently inclined
|
||
|
to fall together on the smallest provocation of silence,yawned
|
||
|
in sympathy.
|
||
|
"I wish we were rich enough to pay a man to do these
|
||
|
things," she said.
|
||
|
"As we are not, we must do them ourselves," said the other;
|
||
|
"for you must help me if you stay."
|
||
|
"Well, my hat is gone, however," continued the younger. "It
|
||
|
went over the hedge, I think. The idea of such a slight wind
|
||
|
catching it."
|
||
|
The cow standing erect was of the Devon breed, and was
|
||
|
encased in a tight warm hide of rich Indian red, as absolutely
|
||
|
uniform from eyes to tail as if the animal had been dipped in
|
||
|
a dye of that colour, her long back being mathematically level.
|
||
|
The other was spotted,grey and white. Beside her Oak now
|
||
|
noticed a little calf about a day old, looking idiotically at
|
||
|
the two women, which showed that it had not long been
|
||
|
accustomed to the phenomenon of eyesight, and often turn-
|
||
|
ing to the lantern, which it apparently mistook for the moon.
|
||
|
inherited instinct having as yet had little time for correction
|
||
|
by experience. Between the sheep and the cows Lucina had
|
||
|
been busy on Norcombe hill lately.
|
||
|
"I think we had better send for some oatmeal," said the
|
||
|
"Yes, aunt; and I'll ride over for it as soon as it is light."
|
||
|
"But there's no side-saddle."
|
||
|
"I can ride on the other: trust me."
|
||
|
Oak, upon hearing these remarks, became more
|
||
|
curious to observe her features, but this prospect being
|
||
|
denied him by the hooding effect of the cloak, and by his
|
||
|
aerial position, he felt himself drawing upon his fancy
|
||
|
for their details. In making even horizontal and clear
|
||
|
inspections we colour and mould according to the warts
|
||
|
within us whatever our eyes bring in. Had Gabriel
|
||
|
been able from the first to get a distinct view of her -
|
||
|
countenance, his estimate of it as very handsome or
|
||
|
slightly so would have been as his soul required a
|
||
|
divinity at the moment or was ready supplied with one.
|
||
|
Having for some time known the want of a satisfactory
|
||
|
form to fill an increasing void within him, his position
|
||
|
moreover affording the widest scope for his fancy, he
|
||
|
painted her a beauty.
|
||
|
By one of those whimsical coincidences in which
|
||
|
Nature, like a busy mother, seems to spare a moment
|
||
|
from her unremitting labours to turn and make her
|
||
|
children smile, the girl now dropped the cloak, and
|
||
|
forth tumbled ropes of black hair over a red jacket.
|
||
|
Oak knew her instantly as the heroine of the yellow
|
||
|
waggon, myrtles, and looking-glass: prosily, as the
|
||
|
woman who owed him twopence.
|
||
|
They placed the calf beside its mother again, took
|
||
|
up the lantern, and went out, the light sinking down
|
||
|
the hill till it was no more than a nebula. Gabriel
|
||
|
Oak returned to his flock.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER III
|
||
|
|
||
|
|
||
|
|
||
|
A GIRL ON HORSEBACK -- CONVERSATION
|
||
|
|
||
|
|
||
|
THE sluggish day began to break. Even its position
|
||
|
terrestrially is one of the elements of a new interest,
|
||
|
and for no particular reason save that the incident of
|
||
|
the night had occurred there, Oak went again into
|
||
|
the plantation. Lingering and musing here, he heard
|
||
|
the steps of a horse at the foot of the hill, and soon
|
||
|
there appeared in view an auburn pony with a girl on
|
||
|
its back, ascending by the path leading past the cattle-
|
||
|
shed. She was the young woman of the night before.
|
||
|
Gabriel instantly thought of the hat she had mentioned
|
||
|
as having lost in the wind; possibly she had come to
|
||
|
look for it. He hastily scanned the ditch and after
|
||
|
walking about ten yards along it, found the hat among the
|
||
|
leaves. Gabriel took it in his hand and returned to his
|
||
|
hut. Here he ensconced himself, and peeped through
|
||
|
the loophole in the direction of the riders approach.
|
||
|
She came up and looked around -- then on the other
|
||
|
side of the hedge. Gabriel was about to advance and
|
||
|
restore the missing article when an unexpected per-
|
||
|
formance induced him to suspend the action for the
|
||
|
present. The path, after passing the cowshed, bisected
|
||
|
the plantation. It was not a bridle-path -- merely a
|
||
|
pedestrian's track, and the boughs spread horizontally
|
||
|
at a height not greater than seven feet above the ground,
|
||
|
which made it impossible to ride erect beneath them.
|
||
|
The girl, who wore no riding-habit, looked around for
|
||
|
a moment, as if to assure herself that all humanity was
|
||
|
out of view, then dexterously dropped backwards flat
|
||
|
upon the pony's back, her head over its tail, her feet
|
||
|
against its shoulders, and her eyes to the sky. The
|
||
|
rapidity of her glide into this position was that of a
|
||
|
kingfisher -- its noiselessness that of a hawk. Gabriel's
|
||
|
eyes had scarcely been able to follow her. The tall lank
|
||
|
pony seemed used to such doings, and ambled
|
||
|
along unconcerned. Thus she passed under the level boughs.
|
||
|
The performer seemed quite at home anywhere
|
||
|
between a horse's head and its tail, and the necessity
|
||
|
for this abnormal attitude having ceased with the
|
||
|
passage of the plantation, she began to adopt another,
|
||
|
even more obviously convenient than the first. She had
|
||
|
no side-saddle, and it was very apparent that a firm
|
||
|
seat upon the smooth leather beneath her was un-
|
||
|
attainable sideways. Springing to her accustomed
|
||
|
perpendicular like a bowed sapling, and satisfying her,
|
||
|
self that nobody was in sight, she seated herself in the
|
||
|
manner demanded by the saddle, though hardly expected
|
||
|
of the woman, and trotted off in the direction of Tewnell
|
||
|
Mill.
|
||
|
Oak was amused, perhaps a little astonished, and
|
||
|
hanging up the hat in his hut, went again among his
|
||
|
ewes. An hour passed, the girl returned, properly
|
||
|
seated now, with a bag of bran in front of her. On
|
||
|
nearing the cattle-shed she was met by a boy bringing
|
||
|
a milking-pail, who held the reins of the pony whilst
|
||
|
she slid off. The boy led away the horse, leaving the
|
||
|
pail with the young woman.
|
||
|
Soon soft shirts alternating with loud shirts came
|
||
|
in regular succession from within the shed, the obvious
|
||
|
sounds of a person milking a cow. Gabriel took the
|
||
|
lost hat in his hand, and waited beside the path she
|
||
|
would follow in leaving the hill.
|
||
|
She came, the pail in one hand, hanging against her
|
||
|
knee. The left arm was extended as a balance, enough
|
||
|
of it being shown bare to make Oak wish that the event
|
||
|
ha happened in the summer, when the whole would
|
||
|
have been revealed. There was a bright air and manner
|
||
|
about her now, by which she seemed to imply that the
|
||
|
desirability of her existence could not be questioned;
|
||
|
and this rather saucy assumption failed in being offensive,
|
||
|
because a beholder felt it to be, upon the whole, true.
|
||
|
Like exceptional emphasis in the tone of a genius, that
|
||
|
which would have made mediocrity ridiculous was an
|
||
|
addition to recognised power. It was with some
|
||
|
surprise that she saw Gabriel's face rising like the
|
||
|
moon behind the hedge.
|
||
|
The adjustment of the farmer's hazy conceptions of her
|
||
|
charms to the portrait of herself she now presented
|
||
|
him with was less a diminution than a difference. The
|
||
|
starting-point selected by the judgment was. her height
|
||
|
She seemed tall, but the pail was a small one, and the
|
||
|
hedge diminutive; hence, making allowance for error
|
||
|
by comparison with these, she could have been not
|
||
|
above the height to be chosen by women as best. All
|
||
|
features of consequence were severe and regular. It
|
||
|
may have been observed by persons who go about the
|
||
|
shires with eyes for beauty, that in Englishwoman a
|
||
|
classically-formed face is seldom found to be united
|
||
|
with a figure of the same pattern, the highly-finished
|
||
|
features being generally too large for the remainder of
|
||
|
the frame; that a graceful and proportionate figure of
|
||
|
eight heads usually goes off into random facial curves.
|
||
|
Without throwing a Nymphean tissue over a milkmaid,
|
||
|
let it be said that here criticism checked itself as out
|
||
|
of place, and looked at her proportions with a long
|
||
|
consciousness of pleasure. From the contours of her
|
||
|
figure in its upper part, she must have had a beautiful
|
||
|
neck and shoulders; but since her infancy nobody had
|
||
|
ever seen them. Had she been put into a low dress
|
||
|
she would have run and thrust her head into a bush.
|
||
|
Yet she was not a shy girl by any means; it was merely
|
||
|
her instinct to draw the line dividing the seen from the
|
||
|
unseen higher than they do it in towns.
|
||
|
That the girl's thoughts hovered about her face
|
||
|
and form as soon as she caught Oak's eyes conning the
|
||
|
same page was natural, and almost certain. The self-
|
||
|
consciousness shown would have been vanity if a little
|
||
|
more pronounced, dignity if a little less. Rays of male
|
||
|
vision seem to have a tickling effect upon virgin faces
|
||
|
in rural districts; she brushed hers with her hand, as if
|
||
|
Gabriel had been irritating its pink surface by actual
|
||
|
touch, and the free air of her previous movements was
|
||
|
reduced at the same time to a chastened phase of
|
||
|
itself. Yet it was the man who blushed, the maid not
|
||
|
at all.
|
||
|
"I found a hat." said Oak.
|
||
|
"It is mine." said she, and, from a sense of proportion,
|
||
|
kept down to a small smile an inclination to laugh dis-
|
||
|
tinctly: "it flew away last night."
|
||
|
"One o'clock this morning?"
|
||
|
"Well -- it was." She was surprised. "How did you know?"
|
||
|
she said.
|
||
|
"I was here."
|
||
|
"You are Farmer Oak, are you not?"
|
||
|
"That or thereabouts. I'm lately come to this place."
|
||
|
"A large farm?" she inquired, casting her eyes round,
|
||
|
and swinging back her hair, which was black in the
|
||
|
shaded hollows of its mass; but it being now an hour
|
||
|
past sunrise, the rays touched its prominent curves with
|
||
|
a colour of their own.
|
||
|
"No; not large. About a hundred." (In speaking
|
||
|
of farms the word "acres" is omitted by the natives, by
|
||
|
analogy to such old expressions as "a stag of ten.")
|
||
|
"I wanted my hat this morning." she went on.
|
||
|
"I had to ride to Tewnell Mill."
|
||
|
"Yes you had."
|
||
|
"How do you know?"
|
||
|
"I saw you!"
|
||
|
"Where?" she inquired, a misgiving bringing every
|
||
|
muscle of her lineaments and frame to a standstill.
|
||
|
"Here-going through the plantation, and all down
|
||
|
the hill." said Farmer Oak, with an aspect excessively
|
||
|
knowing with regard to some matter in his mind, as he
|
||
|
gazed at a remote point in the direction named, and then
|
||
|
turned back to meet his colloquist's eyes.
|
||
|
A perception caused him to withdraw his own eyes
|
||
|
from hers as suddenly as if he had been caught in a
|
||
|
theft. Recollection of the strange antics she had
|
||
|
indulged in when passing through the trees, was suc-
|
||
|
ceeded in the girl by a nettled palpitation, and that by
|
||
|
a hot face. It was a time to see a woman redden who
|
||
|
was not given to reddening as a rule; not a point in
|
||
|
the milkmaid but was of the deepest rose-colour. From
|
||
|
the Maiden's Blush, through all varieties of the Provence
|
||
|
down to the Crimson Tuscany, the countenance of Oak's
|
||
|
acquaintance quickly graduated; whereupon he, in con-
|
||
|
siderateness, turned away his head.
|
||
|
The sympathetic man still looked the other way, and
|
||
|
wondered when she would recover coolness sufficient to
|
||
|
justify him in facing her again. He heard what seemed
|
||
|
to be the flitting of a dead leaf upon the breeze, and
|
||
|
looked. She had gone away.
|
||
|
With an air between that of Tragedy and Comedy!
|
||
|
Gabriel returned to his work.
|
||
|
Five mornings and evenings passed. The young
|
||
|
woman came regularly to milk the healthy cow or to
|
||
|
attend to the sick one, but never allowed her vision to
|
||
|
stray in the direction of Oak's person. His want of
|
||
|
tact had deeply offended her -- not by seeing what he
|
||
|
could not help, but by letting her know that he had
|
||
|
seen it. For, as without law there is no sin, without
|
||
|
eyes there is no indecorum; and she appeared to feel
|
||
|
that Gabriel's espial had made her an indecorous woman
|
||
|
without her own connivance. It was food for great regret
|
||
|
with him; it was also a contretemps which touched into
|
||
|
life a latent heat he had experienced in that direction.
|
||
|
The acquaintanceship might, however, have ended in
|
||
|
a slow forgetting, but for an incident which occurred at
|
||
|
the end of the same week. One afternoon it began to
|
||
|
freeze, and the frost increased with evening, which drew
|
||
|
on like a stealthy tightening of bonds. It was a time
|
||
|
when in cottages the breath of the sleepers freezes to
|
||
|
the sheets; when round the drawing-room fire of a
|
||
|
thick-walled mansion the sitters' backs are cold, even
|
||
|
whilst their faces are all aglow. Many a small bird went
|
||
|
to bed supperless that night among the bare boughs.
|
||
|
As the milking-hour drew near, Oak kept his usual
|
||
|
watch upon the cowshed. At last he felt cold, and
|
||
|
shaking an extra quantity of bedding round the yearling
|
||
|
ewes he entered the hut and heaped more fuel upon
|
||
|
the stove. The wind came in at the bottom of the door,
|
||
|
and to prevent it Oak laid a sack there and wheeled the
|
||
|
cot round a little more to the south. Then the wind
|
||
|
spouted in at a ventilating hole -- of which there was one
|
||
|
on each side of the hut.
|
||
|
Gabriel had always known that when the fire was
|
||
|
lighted and the door closed one of these must be kept
|
||
|
open -- that chosen being always on the side away from
|
||
|
the wind. Closing the slide to windward, he turned to
|
||
|
open the other; on second -- thoughts the farmer con-
|
||
|
sidered that he would first sit down leaving both
|
||
|
closed for a minute or two, till the temperature of the
|
||
|
hut was a little raised. He sat down.
|
||
|
His head began to ache in an unwonted manner, and,
|
||
|
fancying himself weary by reason of the broken rests of
|
||
|
the preceding nights, Oak decided to get up, open the
|
||
|
slide, and then allow himself to fall asleep. He fell
|
||
|
asleep, however, without having performed the necessary
|
||
|
preliminary.
|
||
|
How long he remained unconscious Gabriel never
|
||
|
knew. During the first stages of his return to percep-
|
||
|
tion peculiar deeds seemed to be in course of enactment.
|
||
|
His dog was howling, his head was aching fearfully --
|
||
|
somebody was pulling him about, hands were loosening
|
||
|
his neckerchief.
|
||
|
On opening his eyes he found that evening had sunk
|
||
|
to dusk in a strange manner of unexpectedness. The
|
||
|
young girl with the remarkably pleasant lips and white
|
||
|
teeth was beside him. More than this -- astonishingly
|
||
|
more -- his head was upon her lap, his face and neck
|
||
|
were disagreeably wet, and her fingers were unbuttoning
|
||
|
his collar.
|
||
|
"Whatever is the matter?" said Oak, vacantly.
|
||
|
She seemed to experience mirth, but of too insignifi-
|
||
|
cant a kind to start enjoyment.
|
||
|
"Nothing now', she answered, "since you are not
|
||
|
dead It is a wonder you were not,suffocated in this
|
||
|
hut of yours."
|
||
|
"Ah, the hut!" murmured Gabriel. "I gave ten
|
||
|
pounds for that hut. But I'll sell it, and sit under
|
||
|
thatched hurdles as they did in old times, curl up
|
||
|
to sleep in a lock of straw! It played me nearly the
|
||
|
same trick the other day!" Gabriel, by way of emphasis,
|
||
|
brought down his fist upon the floor.
|
||
|
"It was not exactly the fault of the hut." she ob-
|
||
|
served in a tone which showed her to be that novelty
|
||
|
among women -- one who finished a thought before
|
||
|
beginning the sentence which was to convey it. "You
|
||
|
should I think, have considered, and not have been so
|
||
|
foolish as to leave the slides closed."
|
||
|
"Yes I suppose I should." said Oak, absently. He
|
||
|
was endeavouring to catch and appreciate the sensation
|
||
|
of being thus with her, his head upon her dress, before
|
||
|
the event passed on into the heap of bygone things.
|
||
|
He wished she knew his impressions; but he would as
|
||
|
soon have thought of carrying an odour in a net as of
|
||
|
attempting to convey the intangibilities of his feeling
|
||
|
in the coarse meshes of language. So he remained
|
||
|
silent.
|
||
|
She made him sit up, and then Oak began wiping
|
||
|
his face and shaking himself like a Samson. "How
|
||
|
can I thank 'ee?" he said at last, gratefully, some of the
|
||
|
natural rusty red having returned to his face. "Oh, never mind that."
|
||
|
said the girl, smiling, and
|
||
|
allowing her smile to hold good for Gabriel's next
|
||
|
remark, whatever that might prove to be.
|
||
|
"How did you find me?"
|
||
|
"I heard your dog howling and scratching at the
|
||
|
door of the hut when I came to the milking (it was so
|
||
|
lucky, Daisy's milking is almost over for the season, and
|
||
|
I shall not come here after this week or the next). The
|
||
|
dog saw me, and jumped over to me, and laid hold of
|
||
|
my skirt. I came across and looked round the hut the
|
||
|
very first thing to see if the slides were closed. My
|
||
|
uncle has a hut like this one, and I have heard him tell
|
||
|
his shepherd not to go to sleep without leaving a slide
|
||
|
open. I opened the door, and there you were like
|
||
|
dead. I threw the milk over you, as there was no
|
||
|
water, forgetting it was warm, and no use."
|
||
|
"I wonder if I should have died?" Gabriel said, in a
|
||
|
low voice, which was rather meant to travel back to
|
||
|
himself than to her.
|
||
|
"O no," the girl replied. She seemed to prefer a
|
||
|
less tragic probability; to have saved a man from death
|
||
|
involved talk that should harmonise with the dignity of
|
||
|
such a deed -- and she shunned it.
|
||
|
"I believe you saved my life, Miss -- -- I don't know
|
||
|
your name. I know your aunt's, but not yours."
|
||
|
"I would just as soon not tell it -- rather not. There
|
||
|
is no reason either why I should, as you probably will
|
||
|
never have much to do with me." "Still, I should like to know."
|
||
|
"You can inquire at my aunt's -- she will tell you."
|
||
|
"My name is Gabriel Oak."
|
||
|
"And mine isn't. You seem fond of yours in
|
||
|
speaking it so decisively, Gabriel Oak."
|
||
|
"You see, it is the only one I shall ever have, and I
|
||
|
must make the most of it."
|
||
|
"I always think mine sounds odd and disagreeable."
|
||
|
"I should think you might soon get a new one."
|
||
|
"Mercy! -- how many opinions you keep about you
|
||
|
concerning other people, Gabriel Oak."
|
||
|
"Well Miss-excuse the words-I thought you
|
||
|
would like them But I can't match you I know in
|
||
|
napping out my mind upon my tongue. I never was
|
||
|
very clever in my inside. But I thank you. Come
|
||
|
give me your hand!"
|
||
|
She hesitated, somewhat disconcerted at Oak's old-
|
||
|
fashioned earnest conclusion. to a dialogue lightly
|
||
|
carried on."Very well." she said, and gave him her
|
||
|
hand, compressing her lips to a demure impassivity.
|
||
|
He held it but an instant, and in his fear of being too
|
||
|
demonstrative, swerved to the opposite extreme, touching
|
||
|
her fingers with the lightness of a small-hearted person.
|
||
|
"I am sorry." he said, the instant after.
|
||
|
"What for?"
|
||
|
"You may have it again if you like; there it is."
|
||
|
She gave him her hand again.
|
||
|
Oak held it longer this time -- indeed, curiously long.
|
||
|
"How soft it is -- being winter time, too -- not chapped
|
||
|
or rough or anything!" he said.
|
||
|
"There -- that's long enough." said she, though with-
|
||
|
out pulling it away "But I suppose you are thinking
|
||
|
you would like to kiss it? You may if you want to."
|
||
|
"I wasn't thinking of any such thing." said Gabriel,
|
||
|
simply; "but I will"
|
||
|
"That you won't!" She snatched back her hand.
|
||
|
Gabriel felt himself guilty of another want of tact.
|
||
|
"Now find out my name." she said, teasingly; and
|
||
|
withdrew.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER IV
|
||
|
|
||
|
|
||
|
|
||
|
GABRIEL'S RESOLVE -- THE VISIT -- THE MISTAKE
|
||
|
|
||
|
|
||
|
THE only superiority in women that is tolerable to the
|
||
|
rival sex is, as a rule, that of the unconscious kind; but
|
||
|
a superiority which recognizes itself may sometimes
|
||
|
please by suggesting possibilities of capture to the
|
||
|
subordinated man.
|
||
|
This well-favoured and comely girl soon made appre-
|
||
|
ciable inroads upon the emotional constitution of young
|
||
|
Farmer Oak.
|
||
|
Love, being an extremely exacting usurer (a sense of
|
||
|
exorbitant profit, spiritually, by an exchange of hearts,
|
||
|
being at the bottom of pure passions, as that of exorbi-
|
||
|
tant profit, bodily or materially, is at the bottom of
|
||
|
those of lower atmosphere), every morning Oak's feelings
|
||
|
were as sensitive as the money-market in calculations
|
||
|
upon his chances. His dog waited for his meals in a
|
||
|
way so like that in which Oak waited for the girl's
|
||
|
presence, that the farmer was quite struck with the
|
||
|
resemblance, felt it lowering, and would not look at the
|
||
|
dog. However, he continued to watch through the
|
||
|
hedge for her regular coming, and thus his sentiments
|
||
|
towards her were deepened without any corresponding
|
||
|
effect being produced upon herself. Oak had nothing
|
||
|
finished and ready to say as yet, and not being able
|
||
|
to frame love phrases which end where they begin;
|
||
|
passionate tales --
|
||
|
-- Full of sound and fury
|
||
|
-- signifying nothing --
|
||
|
he said no word at all.
|
||
|
By making inquiries he found that the girl's name
|
||
|
was Bathsheba Everdene, and that the cow would go
|
||
|
dry in about seven days. He dreaded the eight day.
|
||
|
At last the eighth day came. The cow had ceased
|
||
|
to give milk for that year, and Bathsheba Everdene
|
||
|
came up the hill no more. Gabriel had reached a
|
||
|
pitch of existence he never could have anticipated a
|
||
|
short time before. He liked saying `Bathsheba' as a
|
||
|
private enjoyment instead of whistling; turned over his
|
||
|
taste to black hair, though he had sworn by brown ever
|
||
|
since he was a boy, isolated himself till the space he
|
||
|
filled in a possible strength in an actual weakness. Marriage
|
||
|
transforms a distraction into a support, the power of
|
||
|
which should be, and happily often is, in direct pro-
|
||
|
portion to the degree of imbecility it supplants. Oak
|
||
|
began now to see light in this direction, and said to
|
||
|
himself, "I'll make her my wife, or upon my soul I shall
|
||
|
be good for nothing!"
|
||
|
All this while he was perplexing himself about an
|
||
|
errand on which he might consistently visit the cottage
|
||
|
of Bathsheba's aunt.
|
||
|
He found his opportunity in the death of a ewe,
|
||
|
mother of a living lamb. On a day which had a
|
||
|
summer face and a winter constitution-a fine January
|
||
|
morning, when there was just enough blue sky visible to
|
||
|
make cheerfully-disposed people wish for more, and an
|
||
|
occasional gleam of silvery sunshine, Oak put the lamb
|
||
|
into a respectable Sunday basket, and stalked across the
|
||
|
fields to the house of Mrs. Hurst, the aunt -- George,
|
||
|
the dog walking behind, with a countenance of great
|
||
|
concern at the serious turn pastoral affairs seemed to be
|
||
|
taking.
|
||
|
Gabriel had watched the blue wood-smoke curling
|
||
|
from the chimney with strange meditation. At evening
|
||
|
he had fancifully traced it down the chimney to the
|
||
|
spot of its origin -- seen the hearth and Bathsheba
|
||
|
beside it -- beside it in her out-door dress; for the
|
||
|
clothes she had worn on the hill were by association
|
||
|
equally with her person included in the compass of his
|
||
|
affection; they seemed at this early time of his love a
|
||
|
necessary ingredient of the sweet mixture called Bath-
|
||
|
sheba Everdene.
|
||
|
He had made a toilet of a nicely-adjusted kind -- of a
|
||
|
nature between the carefully neat and the carelessly
|
||
|
ornate -- of a degree between fine-market-day and wet-
|
||
|
Sunday selection. He thoroughly cleaned his silver
|
||
|
watch-chain with whiting, put new lacing straps to his
|
||
|
boots, looked to the brass eyelet-holes, went to the
|
||
|
inmost heart of the plantation for a new walking-stick,
|
||
|
and trimmed it vigorously on his way back; took a new
|
||
|
handkerchief from the bottom of his clothes-box, put
|
||
|
on the light waistcoat patterned all over with sprigs
|
||
|
of an elegant flower uniting the beauties of both rose
|
||
|
and lily without the defects of either, and used all the
|
||
|
hair-oil he possessed upon his usually dry, sandy, and
|
||
|
inextricably curly hair, till he had deepened it to a
|
||
|
splendidly novel colour, between that of guano and
|
||
|
Roman cement, making it stick to his head like mace
|
||
|
round a nutmeg, or wet seaweed round a boulder after
|
||
|
the ebb.
|
||
|
Nothing disturbed the stillness of the cottage save
|
||
|
the chatter of a knot of sparrows on the eaves; one
|
||
|
might fancy scandal and rumour to be no less the
|
||
|
staple topic of these little coteries on roofs than of
|
||
|
those under them. It seemed that the omen was an
|
||
|
unpropitious one, for, as the rather untoward commence-
|
||
|
ment of Oak's overtures, just as he arrived by the garden
|
||
|
gate, he saw a cat inside, going into various arched shapes
|
||
|
and fiendish convulsions at the sight of his dog George.
|
||
|
The dog took no notice , for he had arrived at an age
|
||
|
at which all superfluous barking was cynically avoided
|
||
|
as a waste of breath -- in fact he never barked even
|
||
|
at the sheep except to order, when it was done with
|
||
|
an absolutely neutral countenance, as a sort of Com-
|
||
|
mination-service, which, though offensive, had to be
|
||
|
gone through once now and then to frighten the flock
|
||
|
for their own good.
|
||
|
A voice came from behind some laurel-bushes into
|
||
|
which the cat had run:
|
||
|
"Poor dear! Did a nasty brute of a dog want to
|
||
|
kill it; -- did he poor dear!"
|
||
|
"I beg your pardon." said Oak to the voice, "but
|
||
|
George was walking on behind me with a temper as
|
||
|
mild as milk."
|
||
|
Almost before he had ceased speaking, Oak was
|
||
|
seized with a misgiving as to whose ear was the recipient
|
||
|
of his answer. Nobody appeared, and he heard the
|
||
|
person retreat among the bushes.
|
||
|
Gabriel meditated, and so deeply that he brought
|
||
|
small furrows into his forehead by sheer force of
|
||
|
reverie. Where the issue of an interview is as likely
|
||
|
to be a vast change for the worse as for the better,
|
||
|
any initial difference from expectation causes nipping
|
||
|
sensations of failure. Oak went up to the door a little
|
||
|
abashed: his mental rehearsal and the reality had had
|
||
|
no common grounds of opening.
|
||
|
Bathsheba's aunt was indoors. "Will you tell Miss
|
||
|
Everdene that somebody would be glad to speak to
|
||
|
her?" said Mr. Oak. (Calling one's self merely Some-
|
||
|
body, without giving a name, is not to be taken as
|
||
|
an example of the ill-breeding of the rural world: it
|
||
|
springs from a refined modesty, of which townspeople,
|
||
|
with their cards and announcements, have no notion
|
||
|
whatever.)
|
||
|
Bathsheba was out. The voice had evidently been
|
||
|
hers.
|
||
|
"Will you come in, Mr. Oak?"
|
||
|
"Oh, thank 'ee, said Gabriel, following her to the
|
||
|
fireplace. "I've brought a lamb for Miss Everdene.
|
||
|
I thought she might like one to rear; girls do."
|
||
|
"She might." said Mrs. Hurst, musingly; " though
|
||
|
she's only a visitor here. If you will wait a minute,
|
||
|
Bathsheba will be in."
|
||
|
"Yes, I will wait." said Gabriel, sitting down. "The
|
||
|
lamb isn't really the business I came about, Mrs. Hurst.
|
||
|
In short, I was going to ask her if she'd like to be
|
||
|
married."
|
||
|
"And were you indeed?"
|
||
|
"Yes. Because if she would, I should be very glad
|
||
|
to marry her. D'ye know if she's got any other young
|
||
|
man hanging about her at all?"
|
||
|
"Let me think," said Mrs. Hurst, poking the fire
|
||
|
superfluously.... "Yes -- bless you, ever so many young
|
||
|
men. You see, Farmer Oak, she's so good-looking, and
|
||
|
an excellent scholar besides -- she was going to be a
|
||
|
governess once, you know, only she was too wild. Not
|
||
|
that her young men ever come here -- but, Lord, in the
|
||
|
nature of women, she must have a dozen!"
|
||
|
"That's unfortunate." said Farmer Oak, contemplating
|
||
|
a crack in the stone floor with sorrow. "I'm only an
|
||
|
every-day sort of man, and my only chance was in being
|
||
|
the first comer... , Well, there's no use in my waiting,
|
||
|
for that was all I came about: so I'll take myself off
|
||
|
home-along, Mrs. Hurst."
|
||
|
When Gabriel had gone about two hundred yards along the
|
||
|
down, he heard a "hoi-hoi!" uttered behind
|
||
|
him, in a piping note of more treble quality than that
|
||
|
in which the exclamation usually embodies itself when
|
||
|
shouted across a field. He looked round, and saw a girl
|
||
|
racing after him, waving a white handkerchief.
|
||
|
Oak stood still -- and the runner drew nearer. It was
|
||
|
Bathsheba Everdene. Gabriel's colour deepened: hers
|
||
|
was already deep, not, as it appeared, from emotion,
|
||
|
but from running.
|
||
|
"Farmer Oak -- I -- " she said, pausing for want of
|
||
|
breath pulling up in front of him with a slanted face
|
||
|
and putting her hand to her side.
|
||
|
"I have just called to see you," said Gabriel, pending
|
||
|
her further speech.
|
||
|
"Yes-I know that!" she said panting like a robin,
|
||
|
her face red and moist from her exertions, like a peony
|
||
|
petal before the sun dries off the dew. "I didn't know
|
||
|
you had come to ask to have me, or I should have come
|
||
|
in from the garden instantly. I ran after you to say --
|
||
|
that my aunt made a mistake in sending you away from
|
||
|
courting me -- -- -- "
|
||
|
Gabriel expanded."I'm sorry to have made you
|
||
|
run so fast, my dear." he said, with a grateful sense of
|
||
|
favours to come. "Wait a bit till you've found your
|
||
|
breath."
|
||
|
"-- It was quite a mistake-aunt's telling you I had
|
||
|
a young man "already."- Bathsheba went on. "I haven't
|
||
|
a sweetheart at all -- and I never had one, and I thought
|
||
|
that, as times go with women, it was such a pity to send
|
||
|
you away thinking that I had several."
|
||
|
"Really and truly I am glad to hear that!" said
|
||
|
Farmer Oak, smiling one of his long special smiles, and
|
||
|
blushing with gladness. He held out his hand to take
|
||
|
hers, which, when she had eased her side by pressing
|
||
|
it there, was prettily extended upon her bosom to still
|
||
|
her loud-beating heart. Directly he seized it she put
|
||
|
it behind her, so that it slipped through his fingers like
|
||
|
an eel. "
|
||
|
"I have a nice snug little farm." said Gabriel, with
|
||
|
half a degree less assurance than when he had seized
|
||
|
her hand.
|
||
|
"Yes; you have."
|
||
|
"A man has advanced me money to begin with, but
|
||
|
still, it will soon be paid off and though I am only an
|
||
|
every-day sort of man, I have got on a little since I was
|
||
|
a boy." Gabriel uttered "a little" in a tone to-show
|
||
|
her that it was the complacent form of "a great deal."
|
||
|
e continued: " When we be married, I am quite sure
|
||
|
I can work twice as hard as I do now."
|
||
|
He went forward and stretched out his arm again.
|
||
|
Bathsheba had overtaken him at a point beside which
|
||
|
stood a low stunted holly bush, now laden with red
|
||
|
berries. Seeing his advance take the form of an attitude
|
||
|
threatening a possible enclosure, if not compression, of
|
||
|
her person, she edged off round the bush.
|
||
|
"Why, Farmer Oak." she said, over the top, looking
|
||
|
at him with rounded eyes, "I never said I was going to
|
||
|
marry you."
|
||
|
"Well -- that is a tale!" said Oak, with dismay." To
|
||
|
run after anybody like this, and then say you don't
|
||
|
want him!"
|
||
|
"What I meant to tell you was only this." she said
|
||
|
eagerly, and yet half conscious of the absurdity of the
|
||
|
position she had made for herself -- "that nobody has
|
||
|
got me yet as a sweetheart, instead of my having a
|
||
|
dozen, as my aunt said; I hate to be thought men's
|
||
|
property in that way, though possibly I shall be had
|
||
|
some day. Why, if I'd wanted you I shouldn't have
|
||
|
run after you like this; 'twould have been the forwardest
|
||
|
thing! But there was no harm in 'hurrying to correct
|
||
|
a piece of false news that had been told you."
|
||
|
"Oh, no -- no harm at all." But there is such a thing
|
||
|
as being too generous in expressing a judgment impuls-
|
||
|
ively, and Oak added with a more appreciative sense
|
||
|
of all the circumstances -- "Well, I am not quite certain
|
||
|
it was no harm."
|
||
|
"Indeed, I hadn't time to think before starting
|
||
|
whether I wanted to marry or not, for you'd have been
|
||
|
gone over the hill."
|
||
|
"Come." said Gabriel, freshening again; "think a
|
||
|
minute or two. I'll wait a while, Miss Everdene. Will
|
||
|
you marry me? Do, Bathsheba. I love you far more
|
||
|
than common!"
|
||
|
"I'll try to think." she observed, rather more timor-
|
||
|
ously; "if I can think out of doors; my mind spreads
|
||
|
away so."
|
||
|
"But you can give a guess."
|
||
|
"Then give me time." Bathsheba looked thought-
|
||
|
fully into the distance, away from the direction in which
|
||
|
Gabriel stood.
|
||
|
"I can make you happy," said he to the back of her
|
||
|
head, across the bush. "You shall have as piano in a
|
||
|
year or two -- farmers' wives are getting to have pianos
|
||
|
now -- and I'll practise up the flute right well to play
|
||
|
with you in the evenings."
|
||
|
"Yes; I should like that."
|
||
|
"And have one of those little ten-pound" gigs for
|
||
|
market -- and nice flowers, and birds -- cocks and hens
|
||
|
I mean, because they be useful." continued Gabriel,
|
||
|
feeling balanced between poetry and practicality.
|
||
|
"I should like it very much."
|
||
|
"And a frame for cucumbers -- like a gentleman and
|
||
|
lady."
|
||
|
Yes."
|
||
|
"And when the wedding was over, we'd have it put
|
||
|
in the newspaper list of marriages."
|
||
|
"Dearly I should like that!"
|
||
|
"And the babies in the births -- every man jack of
|
||
|
"em! And at home by the fire, whenever you look up,
|
||
|
there I shall be -- and whenever I look up there will
|
||
|
be you."
|
||
|
"Wait wait and don't be improper!"
|
||
|
Her countenance fell, and she was silent awhile.
|
||
|
He regarded the red berries between them over and
|
||
|
over again, to such an extent, that holly seemed in
|
||
|
his after life to be a cypher signifying a proposal of
|
||
|
marriage. Bathsheba decisively turned to him.
|
||
|
"No;" 'tis no use." she said. "I don't want to marry
|
||
|
you."
|
||
|
"Try."
|
||
|
"I have tried hard all the time I've been thinking;
|
||
|
for a marriage would be very nice in one sense.
|
||
|
People would talk about me, and think I had won my
|
||
|
battle, and I should feel triumphant, and all that,
|
||
|
But a husband -- -- --
|
||
|
"Well!"
|
||
|
"Why, he'd always be there, as you say; whenever
|
||
|
I looked up, there he'd be."
|
||
|
"Of course he would -- I, that is."
|
||
|
"Well, what I mean is that I shouldn't mind being
|
||
|
a bride at a wedding, if I could be one without having
|
||
|
a husband. But since a woman can't show off in that
|
||
|
way by herself, I shan't marry -- at least yet."
|
||
|
"That's a terrible wooden story."
|
||
|
At this criticism of her statement Bathsheba made
|
||
|
an addition to her dignity by a slight sweep away
|
||
|
from him.
|
||
|
"Upon my heart and soul, I don't know what a
|
||
|
maid can say stupider than that." said Oak. "But
|
||
|
dearest." he continued in a palliative voice, "don't be
|
||
|
like it!" Oak sighed a deep honest sigh -- none the
|
||
|
less so in that, being like the sigh of a pine plantation,
|
||
|
it was rather noticeable as a disturbance of the atmo-
|
||
|
sphere. "Why won't you have me?" he appealed,
|
||
|
creeping round the holly to reach her side.
|
||
|
"I cannot." she said, retreating.
|
||
|
"But why?" he persisted, standing still at last in
|
||
|
despair of ever reaching her, and facing over the
|
||
|
bush.
|
||
|
"Because I don't love you."
|
||
|
"Yes, but -- -- "
|
||
|
She contracted a yawn to an inoffensive smallness,
|
||
|
so that it was hardly ill-mannered at all. "I don't love
|
||
|
you." she said."
|
||
|
"But I love you -- and, as for myself, I am content
|
||
|
to be liked."
|
||
|
"O Mr. Oak -- that's very fine! You'd get to despise me."
|
||
|
"Never." said Mr Oak, so earnestly that he seemed
|
||
|
to be coming, by the force of his words, straight
|
||
|
through the bush and into her arms. "I shall do one
|
||
|
thing in this life -- one thing certain -- that is, love you,
|
||
|
and long for you, and keep wanting you till I die." His
|
||
|
voice had a genuine pathos now, and his large brown
|
||
|
hands perceptibly trembled.
|
||
|
"It seems dreadfully wrong not to have you when
|
||
|
you feel so much!" she said with a little distress, and
|
||
|
looking hopelessly around for some means of escape
|
||
|
from her moral dilemma. "H(ow I wish I hadn't run
|
||
|
after you!" However she seemed to have a short cut
|
||
|
for getting back to cheerfulness, and set her face to
|
||
|
signify archness. "It wouldn't do, Mr Oak. I want
|
||
|
somebody to tame me; I am too independent; and
|
||
|
you would never be able to, I know."
|
||
|
Oak cast his eyes down the field in a way implying
|
||
|
that it was useless to attempt argument.
|
||
|
"Mr. Oak." she said, with luminous distinctness and
|
||
|
common sense, " you are better off than I. I have
|
||
|
hardly a penny in the world -- I am staying with my
|
||
|
aunt for my bare sustenance. I am better educated
|
||
|
than you -- and I don't love you a bit: that's my side
|
||
|
of the case. Now yours: you are a farmer just begin-
|
||
|
ing; and you ought in common prudence, if you marry
|
||
|
at all (which you should certainly not think of doing
|
||
|
at present) to marry a woman with money, who would
|
||
|
admiration.
|
||
|
"That's the very thing I had been thinking myself!"
|
||
|
he naively said.
|
||
|
Farmer Oak had one-and-a-half Christian character-
|
||
|
istics too many to succeed with Bathsheba: his humility,
|
||
|
and a superfluous moiety of honesty. Bathsheba was
|
||
|
decidedly disconcerted,
|
||
|
"Well, then, why did you come and disturb me?"
|
||
|
she said, almost angrily, if not quite, an enlarging red
|
||
|
spot rising in each cheek.
|
||
|
"I can't do what I think would be -- would be -- -- "
|
||
|
"Right?"
|
||
|
"No: wise."
|
||
|
"You have made an admission now, Mr. Oak." she
|
||
|
exclaimed, with even more hauteur, and rocking her
|
||
|
head disdainfully. "After that, do you think I could
|
||
|
marry you? Not if I know it."
|
||
|
He broke in passionately. "But don't mistake me
|
||
|
like that! Because I am open enough to own what
|
||
|
every man in my shoes would have thought of, you
|
||
|
make your colours come up your face, and get crabbed
|
||
|
with me. That about your not being good enough for
|
||
|
me is nonsense. You speak like a lady -- all the parish
|
||
|
notice it, and your uncle at Weatherbury is, I have
|
||
|
heerd, a large farmer -- much larger than ever I shall
|
||
|
be. May I call in the evening, or will you walk along
|
||
|
with me o' Sundays? I don't want you to make-up
|
||
|
your mind at once, if you'd rather not."
|
||
|
"No -- no -- I cannot. Don't press me any more --
|
||
|
don't. I don't love you -- so 'twould be ridiculous,"
|
||
|
he said, with a laugh.
|
||
|
No man likes to see his emotions the sport of a
|
||
|
merry-go-round of skittishness. "Very well." said Oak,
|
||
|
firmly, with the bearing of one who was going to give "
|
||
|
his days and nights to Ecclesiastes for ever. "Then
|
||
|
I'll ask you no more."
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER V
|
||
|
|
||
|
|
||
|
|
||
|
DEPARTURE OF BATHSHEBA -- A PASTORAL TRAGEDY
|
||
|
|
||
|
|
||
|
THE news which one day reached Gabriel, that Bath-
|
||
|
sheba Everdene had left the neighbourhood, had an
|
||
|
influence upon him which might have surprised any
|
||
|
who never suspected that the more emphatic the renun-
|
||
|
ciation the less absolute its character.
|
||
|
It may have been observed that there is no regula
|
||
|
path for getting out of love as there is for getting in.
|
||
|
Some people look upon marriage as a short cut that way,
|
||
|
but it has been known to fail. Separation, which was
|
||
|
the means that chance offered to Gabriel Oak by
|
||
|
Bathsheba's disappearance though effectual with people
|
||
|
of certain humours is apt to idealise the removed object
|
||
|
with others -- notably those whose affection, placid and
|
||
|
regular as it may be flows deep and long. Oak belonged
|
||
|
to the even-tempered order of humanity, and felt the
|
||
|
secret fusion of himself in Bathsheba to be burning with
|
||
|
a finer flame now that she was gone -- that was all.
|
||
|
His incipient friendship with her aunt-had been
|
||
|
nipped by the failure of his suit, and all that Oak learnt
|
||
|
of Bathsheba's movements was done indirectly. It ap-
|
||
|
peared that she had gone to a place called Weatherbury,
|
||
|
more than twenty miles off, but in what capacity --
|
||
|
whether as a visitor, or permanently, he could not
|
||
|
discover.
|
||
|
Gabriel had two dogs. George, the elder, exhibited
|
||
|
an ebony-tipped nose, surrounded by a narrow margin
|
||
|
of pink flesh, and a coat marked in random splotches
|
||
|
approximating in colour to white and slaty grey; but the
|
||
|
grey, after years of sun and rain, had been scorched and
|
||
|
washed out of the more prominent locks, leaving them
|
||
|
of a reddish-brown, as if the blue component of the grey
|
||
|
had faded, like the indigo from the same kind of colour in
|
||
|
Turner's pictures. In substance it had originally been
|
||
|
hair, but long contact with sheep seemed to be turning
|
||
|
it by degrees into wool of a poor quality and staple.
|
||
|
This dog had originally belonged to a shepherd of
|
||
|
inferior morals and dreadful temper, and the result was
|
||
|
that George knew the exact degrees of condemnation
|
||
|
signified by cursing and swearing of all descriptions
|
||
|
better than the wickedest old man in the neighbourhood.
|
||
|
Long experience had so precisely taught the animal the
|
||
|
difference between such exclamations as "Come in!"
|
||
|
and "D -- -- ye, come in!" that he knew to a hair's
|
||
|
breadth the rate of trotting back from the ewes' tails
|
||
|
that each call involved, if a staggerer with the sheep
|
||
|
crook was to be escaped. Though old, he was clever
|
||
|
and trustworthy still.
|
||
|
The young dog, George's son, might possibly have
|
||
|
been the image of his mother, for there was not much
|
||
|
resemblance between him and George. He was learn-
|
||
|
ing the sheep-keeping business, so as to follow on at
|
||
|
the flock when the other should die, but had got no
|
||
|
further than the rudiments as yet -- still finding an
|
||
|
insuperable difficulty in distinguishing between doing a
|
||
|
thing well enough and doing it too well. So earnest
|
||
|
and yet so wrong-headed was this young dog (he had no,
|
||
|
name in particular, and answered with perfect readiness
|
||
|
to any pleasant interjection), that if sent behind the
|
||
|
flock to help them on, he did it so thoroughly that he
|
||
|
would have chased them across the whole county with
|
||
|
the greatest pleasure if not called off or reminded when
|
||
|
to step by the example of old George.
|
||
|
Thus much for the dogs. On the further side of
|
||
|
Norcombe Hill was a chalk-pit, from which chalk had
|
||
|
been drawn for generations, and spread over adjacent
|
||
|
farms. Two hedges converged upon it in the form of
|
||
|
a V, but without quite meeting. The narrow opening
|
||
|
left, which was immediately over the brow of the pit,
|
||
|
was protected by a rough railing.
|
||
|
One night, when Farmer Oak had returned to, his
|
||
|
house, believing there would be no further necessity for
|
||
|
his attendance on the down, he called as usual to the
|
||
|
dogs, previously to shutting them up in the outhouse till
|
||
|
next morning. Only one responded -- old George; the
|
||
|
other-could not be found, either in the house, lane, or
|
||
|
garden. - Gabriel then remembered that he had left the
|
||
|
two dogs on the hill eating a dead lamb (a kind of meat
|
||
|
he usually kept from them, except when other food-ran
|
||
|
finished his meal, he went indoors to the luxury of a bed,
|
||
|
which latterly he had only enjoyed on Sundays.
|
||
|
It was a still, moist night. Just before dawn he was
|
||
|
assisted in waking by the abnormal reverberation of
|
||
|
familiar music. To the shepherd, the note of the sheep"
|
||
|
chronic sound that only makes itself noticed by ceasing
|
||
|
ever distant, that all is well in the fold. In the solemn
|
||
|
This exceptional ringing may be caused in two ways --
|
||
|
by the rapid feeding of the sheep bearing the bell, as
|
||
|
when the flock breaks into new pasture, which gives it
|
||
|
an intermittent rapidity, or by the sheep starting off in
|
||
|
a run, when the sound has a regular palpitation. The
|
||
|
experienced ear of Oak knew the sound he now heard
|
||
|
to be caused by the running of the flock with great
|
||
|
velocity.
|
||
|
He jumped out of bed, dressed, tore down the lane
|
||
|
through a foggy dawn, and ascended the hill. The
|
||
|
forward ewes were kept apart from those among which
|
||
|
the fall of lambs would be later, there being two hundred
|
||
|
of the latter class in Gabriel's flock. These two hundred
|
||
|
seemed to have absolutely vanished from the hill. There
|
||
|
were the fifty with their lambs, enclosed at the other end
|
||
|
as he had left them, but the rest, forming the bulk of
|
||
|
the flock, were nowhere. Gabriel called at the top of
|
||
|
his voice the shepherd's call.
|
||
|
"Ovey, ovey, ovey!"
|
||
|
Not a single bleat. He went to the hedge -- a gap
|
||
|
had been broken through it, and in the gap were the
|
||
|
footprints of the sheep. Rather surprised to find
|
||
|
them break fence at this season, yet putting it down
|
||
|
instantly to their great fondness for ivy in winter-time,
|
||
|
of which a great deal grew in the plantation, he followed
|
||
|
through the hedge. They were not in the plantation.
|
||
|
He called again: the valleys and farthest hills resounded
|
||
|
as when the sailors invoked the lost Hylas on the Mysian
|
||
|
shore; but no sheep. He passed through the trees and
|
||
|
along the ridge of the hill. On the extreme summit,
|
||
|
where the ends of the two converging hedges of which
|
||
|
we have spoken were stopped short by meeting the brow
|
||
|
of the chalk-pit, he saw the younger dog standing against
|
||
|
the sky -- dark and motionless as Napoleon at St.
|
||
|
Helena.
|
||
|
A horrible conviction darted through Oak. With
|
||
|
a sensation of bodily faintness he advanced: at one
|
||
|
point the rails were broken through, and there he saw
|
||
|
the footprints of his ewes. The dog came up, licked
|
||
|
his hand, and made signs implying that he expected
|
||
|
some great reward for signal services rendered. Oak
|
||
|
looked over the precipice. The ewes lay dead and dying
|
||
|
at its foot -- a heap of two hundred mangled carcasses,
|
||
|
representing in their condition just now at least two
|
||
|
hundred more.
|
||
|
Oak was an intensely humane man: indeed, his
|
||
|
humanity often tore in pieces any politic intentions of
|
||
|
his which bordered on strategy, and carried him on as
|
||
|
by gravitation. A shadow in his life had always been
|
||
|
that his flock ended in mutton -- that a day came and
|
||
|
found every shepherd an arrant traitor to his defenseless
|
||
|
sheep. His first feeling now was one of pity for the
|
||
|
untimely fate of these gentle ewes and their unborn
|
||
|
lambs.
|
||
|
It was a second to remember another phase of the
|
||
|
matter. The sheep were not insured. All the savings
|
||
|
of a frugal life had been dispersed at a blow; his hopes
|
||
|
of being an independent farmer were laid low -- possibly
|
||
|
for ever. Gabriel's energies, patience, and industry had
|
||
|
been so severely taxed during the years of his life between
|
||
|
eighteen and eight-and-twenty, to reach his present stage
|
||
|
of progress that no more seemed to be left in him. He
|
||
|
hands.
|
||
|
Stupors, however, do not last for ever, and Farmer
|
||
|
Oak recovered from his. It was as remarkable as it was
|
||
|
characteristic that the one sentence he uttered was in
|
||
|
thankfulness: --
|
||
|
"Thank God I am not married: what would she have
|
||
|
done in the poverty now coming upon me!"
|
||
|
Oak raised his head, and wondering what he could
|
||
|
do listlessly surveyed the scene. By the outer margin
|
||
|
of the Pit was an oval pond, and over it hung the
|
||
|
attenuated skeleton of a chrome-yellow moon which
|
||
|
had only a few days to last -- the morning star dogging
|
||
|
her on the left hand. The pool glittered like a dead
|
||
|
man's eye, and as the world awoke a breeze blew,
|
||
|
shaking and elongating the reflection of the moon
|
||
|
without breaking it, and turning the image of the star
|
||
|
to a phosphoric streak upon the water. All this Oak
|
||
|
saw and remembered.
|
||
|
As far as could be learnt it appeared that the poor
|
||
|
young dog, still under the impression that since he was
|
||
|
kept for running after sheep, the more he ran after
|
||
|
them the better, had at the end of his meal off the
|
||
|
dead lamb, which may have given him additional energy
|
||
|
and spirits, collected all the ewes into a corner, driven
|
||
|
the timid creatures through the hedge, across the upper
|
||
|
field, and by main force of worrying had given them
|
||
|
momentum enough to break down a portion of the
|
||
|
rotten railing, and so hurled them over the edge.
|
||
|
George's son had done his work so thoroughly that
|
||
|
he was considered too good a workman to live, and was,
|
||
|
in fact, taken and tragically shot at twelve o'clock that
|
||
|
same day -- another instance of the untoward fate which
|
||
|
so often attends dogs and other philosophers who
|
||
|
follow out a train of reasoning to its logical conclusion,
|
||
|
and attempt perfectly consistent conduct in a world
|
||
|
made up so largely of compromise.
|
||
|
Gabriel's farm had been stocked by a dealer -- on the
|
||
|
strength of Oak's promising look and character -- who
|
||
|
was receiving a percentage from the farmer till such
|
||
|
time as the advance should be cleared off Oak found-
|
||
|
that the value of stock, plant, and implements which
|
||
|
were really his own would be about sufficient to pay his
|
||
|
debts, leaving himself a free man with the clothes he
|
||
|
stood up in, and nothing more.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER VI
|
||
|
|
||
|
|
||
|
|
||
|
THE FAIR -- THE JOURNEY -- THE FIRE
|
||
|
|
||
|
|
||
|
TWO months passed away. We are brought on to a
|
||
|
day in February, on which was held the yearly statute
|
||
|
or hiring fair in the county-town of Casterbridge.
|
||
|
At one end of the street stood from two to three
|
||
|
hundred blithe and hearty labourers waiting upon Chance
|
||
|
-- all men of the stamp to whom labour suggests nothing
|
||
|
worse than a wrestle with gravitation, and pleasure
|
||
|
nothing better than a renunciation of the same among
|
||
|
these, carters and waggoners were distinguished by
|
||
|
having a piece of whip-cord twisted round their hats;
|
||
|
thatchers wore a fragment of woven straw; shepherds
|
||
|
held their sheep-crooks in their hands; and thus the
|
||
|
situation required was known to the hirers at a
|
||
|
glance.
|
||
|
In the crowd was an athletic young fellow of some-
|
||
|
what superior appearance to the rest -- in fact, his
|
||
|
superiority was marked enough to lead several ruddy
|
||
|
peasants standing by to speak to him inquiringly, as to
|
||
|
a farmer, and to use `Sir' as a finishing word. His
|
||
|
answer always was,
|
||
|
"I am looking for a place myself -- a bailiff's. Do
|
||
|
Ye know of anybody who wants one?"
|
||
|
Gabriel was paler now. His eyes were more medi-
|
||
|
tative, and his expression was more sad. He had
|
||
|
passed through an ordeal of wretchedness which had
|
||
|
given him more than it had taken away. He had sunk
|
||
|
from his modest elevation as pastoral king into the very
|
||
|
slime-pits of Siddim; but there was left to him a digni-
|
||
|
fied calm he had never before known, and that indiffer-
|
||
|
ence to fate which, though it often makes a villain of
|
||
|
a man, is the basis of his sublimity when it does not.
|
||
|
And thus the abasement had been exaltation, and the
|
||
|
loss gain.
|
||
|
In the morning a regiment of cavalry had left the
|
||
|
town, and a sergeant and his party had been beating up
|
||
|
for recruits through the four streets. As the end of the
|
||
|
day drew on, and he found himself not hired, Gabriel
|
||
|
almost wished that he had joined them, and gone off to
|
||
|
serve his country. Weary of standing in the market-
|
||
|
place, and not much minding the kind of work he
|
||
|
turned his hand to, he decided to offer himself in some
|
||
|
other capacity than that of bailiff.
|
||
|
All the farmers seemed to be wanting shepherds.
|
||
|
Sheep-tending was Gabriel's speciality. Turning down
|
||
|
an obscure street and entering an obscurer lane, he went
|
||
|
up to a smith's shop.
|
||
|
"How long would it take you to make a shepherd's
|
||
|
crook?"
|
||
|
"Twenty minutes."
|
||
|
"How much?"
|
||
|
"Two shillings."
|
||
|
He sat on a bench and the crook was made, a stem
|
||
|
being given him into the bargain.
|
||
|
He then went to a ready-made clothes' shop, the
|
||
|
owner of which had a large rural connection. As the
|
||
|
crook had absorbed most of Gabriel's money, he
|
||
|
attempted, and carried out, an exchange of his overcoat
|
||
|
for a shepherd's regulation smock-frock.
|
||
|
This transaction having been completed, he again
|
||
|
hurried off to the centre of the town, and stood on the
|
||
|
kerb of the pavement, as a shepherd, crook in hand.
|
||
|
Now that Oak had turned himself into a shepherd, it
|
||
|
seemed that bailifs were most in demand. However, two
|
||
|
or three farmers noticed him and drew near. Dialogues
|
||
|
followed, more or lessin the subjoined for: --
|
||
|
"Where do you come from?"
|
||
|
"Norcombe."
|
||
|
"That's a long way.
|
||
|
"Fifteen miles."
|
||
|
"Who's farm were you upon last?"
|
||
|
"My own."
|
||
|
This reply invariably operated like a rumour of
|
||
|
cholera. The inquiring farmer would edge away and
|
||
|
shake his head dubiously. Gabriel, like his dog, was
|
||
|
too good to be trustworthy,. and he never made advance
|
||
|
beyond this point.
|
||
|
It is safer to accept any chance that offers itself, and
|
||
|
extemporize a procedure to fit it, than to get a good
|
||
|
shepherd, but had laid himself out for anything in the
|
||
|
whole cycle of labour that was required in the fair. It
|
||
|
grew dusk. Some merry men were whistling and
|
||
|
singing by the corn-exchange. Gabriel's hand, which
|
||
|
had lain for some time idle in his smock-frock pocket,
|
||
|
touched his flute which he carried there. Here was
|
||
|
an opportunity for putting his dearly bought wisdom
|
||
|
into practice.
|
||
|
He drew out his flute and began to play "Jockey to
|
||
|
the Fair" in the style of a man who had never known
|
||
|
moment's sorrow. Oak could pipe with Arcadian
|
||
|
sweetness and the sound of the well-known notes
|
||
|
cheered his own heart as well as those of the loungers.
|
||
|
He played on with spirit, and in half an hour had
|
||
|
earned in pence what was a small fortune to a destitute
|
||
|
man.
|
||
|
By making inquiries he learnt that there was another
|
||
|
fair at Shottsford the next day.
|
||
|
"How far is Shottsford?"
|
||
|
"Ten miles t'other side of Weatherbury."
|
||
|
Weatherbury! It was where Bathsheba had gone
|
||
|
two months before. This information was like coming
|
||
|
from night into noon.
|
||
|
"How far is it to Weatherbury?"
|
||
|
"Five or six miles."
|
||
|
Bathsheba had probably left Weatherbury long before
|
||
|
this time, but the place had enough interest attaching
|
||
|
to it to lead Oak to choose Shottsford fair as his next
|
||
|
field of inquiry, because it lay in the Weatherbury
|
||
|
quarter. Moreover, the Weatherbury folk were by no
|
||
|
means uninteresting intrinsically. If report spoke truly
|
||
|
they were as hardy, merry, thriving, wicked a set as
|
||
|
any in the whole county. Oak resolved to sleep at
|
||
|
Weatherbury -- that -- night on his way to Shottsford,
|
||
|
and struck out at once -- into the -- high road which had
|
||
|
been recommended as the direct route to the village in
|
||
|
question.
|
||
|
The road stretched through water-meadows traversed
|
||
|
by little brooks, whose quivering surfaces were braided
|
||
|
along their centres, and folded into creases at the sides;
|
||
|
or, where the flow was more rapid, the stream was pied
|
||
|
with spots of white froth, which rode on in undisturbed
|
||
|
serenity. On the higher levels the dead and dry carcasses
|
||
|
of leaves tapped the ground as they bowled along helter-
|
||
|
skelter upon the shoulders of the wind, and little birds
|
||
|
in the hedges were rustling their feathers and tucking
|
||
|
themselves in comfortably for the night, retaining their
|
||
|
places if Oak kept moving, but flying away if he
|
||
|
stopped to look at them. He passed by Yalbury-Wood
|
||
|
where the game-birds were rising to their roosts, and
|
||
|
heard the crack-voiced cock-pheasants "cu-uck, cuck,"
|
||
|
and the wheezy whistle of the hens.
|
||
|
By the time he had walked three or four miles every
|
||
|
shape in the-landscape had assumed a uniform hue of
|
||
|
blackness. He descended Yalbury Hill and could just
|
||
|
discern ahead of him a waggon, drawn up under a great
|
||
|
over-hanging tree by the roadside.
|
||
|
On coming close, he found there were no horses
|
||
|
attached to it, the spot being apparently quite deserted.
|
||
|
The waggon, from its position, seemed to have been left
|
||
|
there for the night, for beyond about half a truss of hay
|
||
|
which was heaped in the bottom, it was quite empty.
|
||
|
Gabriel sat down on the shafts of the vehicle and con-
|
||
|
sidered his position. He calculated that he had walked
|
||
|
a very fair proportion of the journey; and having been
|
||
|
on foot since daybreak, he felt tempted to lie down upon
|
||
|
the hay in the waggon instead of pushing on to the
|
||
|
village of Weatherbury, and having to pay for a lodging.
|
||
|
Eating his las slices of bread and ham, and drinking
|
||
|
from the bottle of cider he had taken the precaution to
|
||
|
bring with him, he got into the lonely waggon. Here
|
||
|
he spread half of the hay as a bed, and, as well as he
|
||
|
could in the darkness, pulled the other half over him
|
||
|
by way of bed-clothes, covering himself entirely, and
|
||
|
feeling, physically, as comfortable as ever he had been
|
||
|
in his life. Inward melancholy it was impossible for
|
||
|
a man like Oak, introspective far beyond his neighbours,
|
||
|
to banish quite, whilst conning the present. untoward
|
||
|
page of his history. So, thinking of his misfortunes,
|
||
|
amorous and pastoral he fell asleep, shepherds enjoying,
|
||
|
in common with sailors, the privilege of being able to
|
||
|
summon the god instead of having to wait for him.
|
||
|
On somewhat suddenly awaking after a sleep of
|
||
|
whose length he had no idea, Oak found that the waggon
|
||
|
was in motion. He was being carried along the road
|
||
|
at a rate rather considerable for a vehicle without
|
||
|
springs, and under circumstances of physical uneasiness,
|
||
|
his head being dandled up and down on the bed of
|
||
|
the waggon like a kettledrum-stick. He then dis-
|
||
|
tinguished voices in conversation, coming from the
|
||
|
forpart of the waggon. His concern at this dilemma
|
||
|
(which would have been alarm, had he been a thriving
|
||
|
man; but -- misfortune is a fine opiate to personal terror)
|
||
|
led him to peer cautiously from the hay, and the first
|
||
|
sight he beheld was the stars above him. Charles's
|
||
|
Wain was getting towards a right angle with the Pole
|
||
|
star, and Gabriel concluded that it must be about nine
|
||
|
o'clock -- in other words, that he had slept two hours.
|
||
|
This small astronomical calculation was made without
|
||
|
any positive effort, and whilst he was stealthily turning
|
||
|
to discover, if possible, into whose hands he had fallen.
|
||
|
Two figures were dimly visible in front, sitting with
|
||
|
their legs outside the waggon, one of whom was driving.
|
||
|
Gabriel soon found that this was the waggoner, and it
|
||
|
appeared they had come from Casterbridge fair, like
|
||
|
himself.
|
||
|
A conversation was in progress, which continued
|
||
|
thus: --
|
||
|
"Be as 'twill, she's a fine handsome body as far's
|
||
|
looks be concerned. But that's only the skin of the
|
||
|
woman, and these dandy cattle be as-proud as a lucifer
|
||
|
in their insides."
|
||
|
"Ay -- so 'a do seem, Billy Smallbury -- so 'a do seem."
|
||
|
This utterance was very shaky by nature, and more so
|
||
|
by circumstance, the jolting of the waggon not being-
|
||
|
without its effect upon the speaker's larynx. It came
|
||
|
"from the man who held the reins.
|
||
|
"She's a very vain feymell -- so 'tis said here and
|
||
|
there."
|
||
|
"Ah, now. If so be 'tis like that, I can't look her in
|
||
|
the face. Lord, no: not I -- heh-heh-heh! Such a shy
|
||
|
man as I be!"
|
||
|
"Yes -- she's very vain. 'Tis said that every night at
|
||
|
going to bed she looks in the glass to put on her night-
|
||
|
cap properly."
|
||
|
"And not a married woman. Oh, the world!"
|
||
|
"And 'a can play the peanner, so 'tis said. Can
|
||
|
play so clever that 'a can make a psalm tune sound as
|
||
|
well as the merriest loose song a man can wish for."
|
||
|
"D'ye tell o't! A happy time for us, and I feel quite
|
||
|
a new man! And how do she play?"
|
||
|
"That I don't know, Master Poorgrass."
|
||
|
On hearing these and other similar remarks, a wild
|
||
|
thought flashed into Gabriel's mind that they might
|
||
|
be speaking of Bathsheba. There were, however, no
|
||
|
ground for retaining such a supposition, for the waggon,
|
||
|
though going in the direction of Weatherbury, might be
|
||
|
going beyond it, and the woman alluded to seemed to be
|
||
|
the mistress of some estate. They were now apparently
|
||
|
close upon Weatherbury and not to alarm the speakers
|
||
|
unnecessarily, Gabriel slipped out of the waggon unseen.
|
||
|
He turned to an opening in the hedge, which he
|
||
|
found to be a gate, and mounting thereon, he sat
|
||
|
meditating whether to seek a cheap lodging in the
|
||
|
village, or to ensure a cheaper one by lying under
|
||
|
some hay or corn-stack. The crunching jangle of the
|
||
|
waggon died upon his ear. He was about to walk on,
|
||
|
when he noticed on his left hand an unusual light --
|
||
|
appearing about half a mile distant. Oak watched it,
|
||
|
and the glow increased. Something was on fire.
|
||
|
Gabriel again mounted the gate, and, leaping down
|
||
|
on the other side upon what he found to be ploughed
|
||
|
soil, made across the field in the exact direction of the
|
||
|
fire. The blaze, enlarging in a double ratio by his
|
||
|
approach and its own increase, showed him as he drew
|
||
|
nearer the outlines of ricks beside it, lighted up to great
|
||
|
distinctness. A rick-yard was the source of the fire.
|
||
|
His weary face now began to be painted over with a
|
||
|
rich orange glow, and the whole front of his smock-
|
||
|
frock and gaiters was covered with a dancing shadow
|
||
|
pattern of thorn-twigs -- the light reaching him through
|
||
|
a leafless intervening hedge -- and the metallic curve of
|
||
|
his sheep-crook shone silver-bright in the same abound-
|
||
|
ing rays. He came up to the boundary fence, and
|
||
|
stood to regain breath. It seemed as if the spot was
|
||
|
unoccupied by a living soul.
|
||
|
The fire was issuing from a long straw-stack, which
|
||
|
was so far gone as to preclude a possibility of saving it.
|
||
|
A rick burns differently from a house. As the wind
|
||
|
blows the fire inwards, the portion in flames completely
|
||
|
disappears like melting sugar, and the outline is lost
|
||
|
to the eye. However, a hay or a wheat-rick, well put
|
||
|
together, will resist combustion for a length of time, if
|
||
|
it begins on the outside.
|
||
|
This before Gabriel's eyes was a- rick of straw, loosely
|
||
|
put together, and the flames darted into it with lightning
|
||
|
swiftness. It glowed on the windward side, rising and
|
||
|
falling in intensity, like the coal of a cigar. Then a
|
||
|
superincumbent bundle rolled down, with a whisking
|
||
|
noise; flames elongated, and bent themselves about
|
||
|
with a quiet roar, but no crackle. Banks of smoke
|
||
|
went off horizontally at the back like passing clouds,
|
||
|
and behind these burned hidden pyres, illuminating
|
||
|
the semi-transparent sheet of smoke to a lustrous yellow
|
||
|
uniformity. Individual straws in the foreground were
|
||
|
consumed in a creeping movement of ruddy heat, as
|
||
|
if they were knots of red worms, and above shone
|
||
|
imaginary fiery faces, tongues hanging from lips, glaring
|
||
|
eyes, and other impish forms, from which at intervals
|
||
|
sparks flew in clusters like birds from a nest,
|
||
|
Oak suddenly ceased from being a mere spectator
|
||
|
by discovering the case to be more serious than he had
|
||
|
at first imagined. A scroll of smoke blew aside and
|
||
|
revealed to him a wheat-rick in startling juxtaposition
|
||
|
with the decaying one, and behind this a series of
|
||
|
others, composing the main corn produce of the farm;
|
||
|
so that instead of the straw-stack standing, as he had
|
||
|
imagined comparatively isolated, there was a regular
|
||
|
connection between it and the remaining stacks of the
|
||
|
group.
|
||
|
Gabriel leapt over the hedge, and saw that he was
|
||
|
not alone. The first man he came to was running
|
||
|
about in a great hurry, as if his thoughts were several
|
||
|
yards in advance of his body, which they could never
|
||
|
drag on fast enough.
|
||
|
"O, man -- fire, fire! A good master and a. bad
|
||
|
servant is fire, fire! -- I mane a bad servant and a good
|
||
|
master O, Mark Clark -- come! And you, Billy
|
||
|
Smallbury -- and you, Maryann Money -- and you, Jan
|
||
|
Coggan, and Matthew there!" Other figures now
|
||
|
appeared behind this shouting man and among the
|
||
|
smoke, and Gabriel found that, far from being alone
|
||
|
he was in a great company -- whose shadows danced
|
||
|
merrily up and down, timed by the jigging of the
|
||
|
flames, and not at all by their owners' movements.
|
||
|
The assemblage -- belonging to that class of society
|
||
|
which casts its thoughts into the form of feeling, and
|
||
|
its feelings into the form of commotion -- set to work
|
||
|
with a remarkable confusion of purpose.
|
||
|
"Stop the draught under the wheat-rick!" cried
|
||
|
Gabriel to those nearest to him. The corn stood on
|
||
|
stone staddles, and between these, tongues of yellow
|
||
|
hue from the burning straw licked and darted playfully.
|
||
|
If the fire once got under this stack, all would be
|
||
|
lost.
|
||
|
"Get a tarpaulin -- quick!" said Gabriel.
|
||
|
A rick-cloth was brought, and they hung it like a
|
||
|
curtain across the channel. The flames immediately
|
||
|
ceased to go under the bottom of the corn-stack, and
|
||
|
stood up vertical.
|
||
|
"Stand here with a bucket of water and keep the
|
||
|
cloth wet." said Gabriel again.
|
||
|
The flames, now driven upwards, began to attack
|
||
|
the angles of the huge roof covering the wheat-stack.
|
||
|
"A ladder." cried Gabriel.
|
||
|
"The ladder was against the straw-rick and is burnt
|
||
|
to a cinder." said a spectre-like form in the smoke.
|
||
|
Oak seized the cut ends of the sheaves, as if he
|
||
|
were going to engage in the operation of "reed-drawing,"
|
||
|
and digging in his feet, and occasionally sticking in the
|
||
|
stem of his sheep-crook, he clambered up the beetling
|
||
|
face. He at once sat astride the very apex, and began
|
||
|
with his crook to beat off the fiery fragments which had
|
||
|
lodged thereon, shouting to the others to get him a
|
||
|
bough and a ladder, and some water.
|
||
|
Billy Smallbury -- one of the men who had been on
|
||
|
the waggon -- by this time had found a ladder, which
|
||
|
Mark Clark ascended, holding on beside Oak upon the
|
||
|
thatch. The smoke at this corner was stifling, and
|
||
|
Clark, a nimble fellow, having been handed a bucket
|
||
|
of water, bathed Oak's face and sprinkled him generally,
|
||
|
whilst Gabriel, now with a long beech-bough in one
|
||
|
hand, in addition to his crook in the other, kept
|
||
|
sweeping the stack and dislodging all fiery particles.
|
||
|
On the ground the groups of villagers were still
|
||
|
occupied in doing all they could to keep down the
|
||
|
conflagration, which was not much. They were all
|
||
|
tinged orange, and backed up by shadows of varying
|
||
|
pattern. Round the corner of the largest stack, out
|
||
|
of the direct rays of the fire, stood a pony, bearing a
|
||
|
young woman on its back. By her side was another
|
||
|
woman, on foot. These two seemed to keep at a
|
||
|
distance from the fire, that the horse might not become
|
||
|
restive.
|
||
|
"He's a shepherd." said the woman on foot. "Yes --
|
||
|
he is. See how his crook shines as he beats the rick
|
||
|
with it. And his smock-frock is burnt in two holes, I
|
||
|
declare! A fine young shepherd he is too, ma'am."
|
||
|
"Whose shepherd is he?" said the equestrian in a
|
||
|
clear voice.
|
||
|
"Don't know, ma'am." "Don't any of the others know?"
|
||
|
"Nobody at all -- I've asked 'em. Quite a stranger,
|
||
|
they say."
|
||
|
The young woman on the pony rode out from the
|
||
|
shade and looked anxiously around.
|
||
|
"Do you think the barn is safe?" she said.
|
||
|
"D'ye think the barn is safe, Jan Coggan?" said
|
||
|
the second woman, passing on the question to the
|
||
|
nearest man in that direction.
|
||
|
"Safe -now -- leastwise I think so. If this rick had
|
||
|
gone the barn would have followed. 'Tis- that bold
|
||
|
shepherd up there that have done the most good -- he
|
||
|
sitting on the top o' rick, whizzing his great long-arms
|
||
|
about like a windmill."
|
||
|
"He does work hard." said the young woman on
|
||
|
horseback, looking up at Gabriel through her thick
|
||
|
woollen veil. "I wish he was shepherd here. Don't
|
||
|
any of you know his name."
|
||
|
"Never heard the man's name in my life, or seed
|
||
|
his form afore."
|
||
|
The fire began to get worsted, and Gabriel's elevated
|
||
|
position being no longer required of him, he made as
|
||
|
if to descend.
|
||
|
"Maryann." said the girl on horseback, "go to him
|
||
|
as he comes down, and say that the farmer wishes to
|
||
|
thank him for the great service he has done."
|
||
|
Maryann stalked off towards the rick and met
|
||
|
Oak at the foot of the ladder. She delivered her
|
||
|
message.
|
||
|
"Where is your master the farmer?" asked Gabriel,
|
||
|
kindling with the idea of getting employment that
|
||
|
seemed to strike him now.
|
||
|
"'Tisn't a master; 'tis a mistress, shepherd."
|
||
|
"A woman farmer?"
|
||
|
"Ay, 'a b'lieve, and a rich one too!" said a by-
|
||
|
stander. "Lately 'a came here from a distance. Took
|
||
|
on her uncle's farm, who died suddenly. Used to
|
||
|
measure his money in half-pint cups. They say now
|
||
|
that she've business in every bank in Casterbridge, and
|
||
|
thinks no more of playing pitch-and-toss sovereign than
|
||
|
you and I, do pitch-halfpenny -- not a bit in the world,
|
||
|
shepherd."
|
||
|
"That's she, back there upon the pony." said Mary-
|
||
|
ann. "wi' her face a-covered up in that black cloth with
|
||
|
holes in it."
|
||
|
Oak, his features smudged, grimy, and undiscoverable
|
||
|
from the smoke and heat, his smock-frock burnt-into
|
||
|
holes and dripping with water, the ash stem of his sheep-
|
||
|
crook charred six inches shorter, advansed with the
|
||
|
humility stern adversity had thrust upon him up to
|
||
|
the slight female form in the saddle. He lifted his
|
||
|
hat with respect, and not without gallantry: stepping
|
||
|
close to her hanging feet he said in a hesitating voice, --
|
||
|
"Do you happen to want a shepherd, ma'am?"
|
||
|
She lifted the wool veil tied round her face, and
|
||
|
looked all astonishment. Gabriel and his cold-hearted
|
||
|
darling, Bathsheba Everdene, were face to face.
|
||
|
Bathsheba did not speak, and he mechanically
|
||
|
repeated in an abashed and sad voice, --
|
||
|
"Do you want a shepherd, ma'am?"
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER VII
|
||
|
|
||
|
|
||
|
|
||
|
RECOGNITION -- A TIMID GIRL
|
||
|
|
||
|
|
||
|
BATHSHEBA withdrew into the shade. She scarcely
|
||
|
knew whether most to be amused at the singularity of
|
||
|
the meeting, or to be concerned at its awkwardness.
|
||
|
There was room for a little pity, also for a very little
|
||
|
exultation: the former at his position, the latter at her
|
||
|
own. Embarrassed she was not, and she" remembered
|
||
|
Gabriel's declaration of love to her at Norcombe only
|
||
|
to think she had nearly forgotten it.
|
||
|
"Yes," she murmured, putting on an air of dignity,
|
||
|
and turning again to him with a little warmth of cheek;
|
||
|
"I do want a shepherd. But -- -- "
|
||
|
"He's the very man, ma'am." said one of the villagers,
|
||
|
quietly.
|
||
|
Conviction breeds conviction. "Ay, that 'a is." said
|
||
|
a second, decisively.
|
||
|
"The man, truly!" said a third, with heartiness."
|
||
|
"He's all there!" said number four, fervidly."
|
||
|
Then will you tell him to speak to the bailiff, said
|
||
|
Bathsheba.
|
||
|
All "was practical again now. A summer eve and
|
||
|
loneliness would have been necessary to give the
|
||
|
meeting its proper fulness of romance.
|
||
|
the palpitation within his breast at discovering that this
|
||
|
Ashtoreth of strange report was only a modification of
|
||
|
Venus the well-known and admired, retired with him to
|
||
|
talk over the necessary preliminaries of hiring.
|
||
|
The fire before them wasted away. "Men." said
|
||
|
Bathsheba, " you shall take a little refreshment after this
|
||
|
extra work. Will you come to the house?"
|
||
|
"We could knock in a bit and a drop a good deal
|
||
|
freer, Miss, if so be ye'd send it to Warren's Malthouse,"
|
||
|
replied the spokesman.
|
||
|
Bathsheba then rode off into the darkness, and the
|
||
|
men straggled on to the village in twos and threes -- Oak
|
||
|
and the bailiff being left by the rick alone.
|
||
|
"And now." said the bailiff, finally, "all is settled, I
|
||
|
think, about your coming, and I am going home-along.
|
||
|
Good-night to ye, shepherd."
|
||
|
"Can you get me a lodging?" inquired Gabriel.
|
||
|
"That I can't, indeed," he said, moving past Oak as
|
||
|
a Christian edges past an offertory-plate when he does
|
||
|
not mean to contribute. "If you follow on the road till
|
||
|
you come to Warren's Malthouse, where they are all
|
||
|
gone to have their snap of victuals, I daresay some of
|
||
|
'em will tell you of a place. Good-night to ye, shepherd."
|
||
|
The bailiff who showed this nervous dread of loving
|
||
|
his neighbour as himself, went up the hill, and Oak
|
||
|
walked on to the village, still astonished at the ren-
|
||
|
counter with Bathsheba, glad of his nearness to her, and
|
||
|
perplexed at the rapidity with which the unpractised girl
|
||
|
of Norcombe had developed into the supervising and cool
|
||
|
woman here. But some women only require an emerg-
|
||
|
ency to make them fit for one.
|
||
|
Obliged, to some extent, to forgo dreaming in order
|
||
|
to find the way, he reached the churchyard, and passed
|
||
|
round it under the wall where several ancient trees grew.
|
||
|
There was a wide margin of grass along here, and
|
||
|
Gabriel's footsteps were deadened by its softness, even
|
||
|
at this indurating period of the year. When abreast of
|
||
|
a trunk which appeared to be the oldest of the old, he
|
||
|
became aware that a figure was standing behind it.
|
||
|
Gabriel did not pause in his walk, and in another
|
||
|
moment he accidentally kicked a loose stone. The noise
|
||
|
was enough to disturb the motionless stranger, who
|
||
|
started and assumed a careless position.
|
||
|
It was a slim girl, rather thinly clad.
|
||
|
"Good-night to you." said Gabriel, heartily.
|
||
|
"Good-night." said the girl to Gabriel.
|
||
|
The voice was unexpectedly attractive; it was "the
|
||
|
low and dulcet note suggestive of romance," common in
|
||
|
descriptions, rare in experience.
|
||
|
"I'll thank you to tell me if I'm in the way for
|
||
|
Warren's Malthouse?" Gabriel resumed, primarily to gain
|
||
|
the information, indirectly to get more of the music.
|
||
|
"Quite right. It's at the bottom of the hill. And
|
||
|
do you know -- --" The girl hesitated and then went
|
||
|
on again. "Do you know how late they keep open
|
||
|
the Buck's Head Inn?" She seemed" to be won by
|
||
|
Gabriel's heartiness, as Gabriel had been won by her
|
||
|
modulations.
|
||
|
"I don't know where the Buck's Head is, or anything
|
||
|
about it. Do you think of going there to-night?"
|
||
|
"Yes -- --" The woman again paused. There was
|
||
|
no necessity for any continuance of speech, and the fact
|
||
|
that she did add more seemed to proceed from an
|
||
|
unconscious desire to show unconcern by making a
|
||
|
remark, which is noticeable in the ingenuous when they
|
||
|
are acting by stealth. "You are not a Weatherbury man?"
|
||
|
she said, timorously.
|
||
|
"I am not. I am the new shepherd -- just arrived."
|
||
|
"Only a shepherd -- and you seem almost a farmer by
|
||
|
your ways."
|
||
|
"Only a shepherd." Gabriel repeated, in a dull cadence
|
||
|
of finality. "His thoughts were directed to the past, his
|
||
|
eyes to the feet of the girl; and for the first time he
|
||
|
saw lying there a bundle of some sort. She may have
|
||
|
perceived the direction of his face, for she said
|
||
|
coaxingly, --
|
||
|
"You won't say anything in the parish about having
|
||
|
seen me here, will you -- at least, not for a day or two?"
|
||
|
"I won't if you wish me not to." said Oak.
|
||
|
"Thank you, indeed." the other replied."I am
|
||
|
rather poor, and I don't want people to know anything
|
||
|
about me." Then she was silent and shivered.
|
||
|
"You ought to have a cloak on such a cold night,"
|
||
|
Gabriel observed. "I would advise 'ee to get indoors."
|
||
|
"O no! Would you mind going on and leaving me?
|
||
|
I thank you much for what you have told me."
|
||
|
"I will go on." he said; adding hesitatingly, -- "Since
|
||
|
you are not very well off, perhaps you would accept this
|
||
|
trifle from me. It is only a shilling, but it is all I have
|
||
|
to spare."
|
||
|
"Yes, I will take it." said the stranger, gratefully.
|
||
|
She extended her hand; Gabriel his. In feeling for
|
||
|
each other's palm in the gloom before the money could
|
||
|
be passed, a minute incident occurred which told much.
|
||
|
Gabriel's fingers alighted on the young woman's wrist.
|
||
|
It was beating with a throb of tragic intensity. He had
|
||
|
frequently felt the same quick, hard beat in the femoral
|
||
|
artery of -- his lambs when overdriven. It suggested a
|
||
|
consumption too great of a vitality which, to judge from
|
||
|
her figure and stature, was already too little.
|
||
|
"What is the matter?"
|
||
|
"Nothing."
|
||
|
"But there is?"
|
||
|
"No, no, no! Let your having seen me be a secret!"
|
||
|
"Very well; I will. Good-night, again."
|
||
|
"Good-night."
|
||
|
The young girl remained motionless by the tree, and
|
||
|
Gabriel descended into the village of Weatherbury, or
|
||
|
Lower Longpuddle as it was sometimes called. He
|
||
|
fancied that he had felt himself in the penumbra of a
|
||
|
very deep sadness when touching that slight and fragile
|
||
|
creature. But wisdom lies in moderating mere impres-
|
||
|
sions, and Gabriel endeavoured to think little of this.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER VIII
|
||
|
|
||
|
|
||
|
|
||
|
THE MALTHOUSE -- THE CHAT -- NEWS
|
||
|
|
||
|
|
||
|
WARREN'S Malthouse was enclosed by an old wall
|
||
|
inwrapped with ivy, and though not much of the exterior
|
||
|
was visible at this hour, the character and purposes of
|
||
|
the building were clearly enough shown by its outline
|
||
|
upon the sky. From the walls an overhanging thatched
|
||
|
roof sloped up to a point in the centre, upon which rose
|
||
|
a small wooden lantern, fitted with louvre-boards on all
|
||
|
the four sides, and from these openings a mist was dimly
|
||
|
perceived to be escaping into the night air. There was
|
||
|
no window in front; but a square hole in the door was
|
||
|
glazed with a single pane, through which red, comfortable
|
||
|
rays now stretched out upon the ivied wall in front.
|
||
|
Voices were to be heard inside.
|
||
|
Oak's hand skimmed the surface of the door with
|
||
|
fingers extended to an Elymas-the-Somerer pattern, till
|
||
|
he found a leathern strap, which he pulled. This lifted
|
||
|
a wooden latch, and the door swung open.
|
||
|
The room inside was lighted only by the, ruddy glow
|
||
|
from the kiln mouth, which shone over ,the floor with
|
||
|
the streaming, horizontality of the setting sun, and threw
|
||
|
upwards the shadows of all facial irregularities in those
|
||
|
assembled around. The stone-flag floor was worn into
|
||
|
a path from the doorway to the kiln, and into undula-
|
||
|
tions everywhere. A curved settle of unplaned oak
|
||
|
stretched along one side, and in a remote corner was a
|
||
|
small bed and bedstead, the owner and frequent occupier
|
||
|
of which was the maltster.
|
||
|
This aged man was now sitting opposite the fire, his
|
||
|
frosty white hair and beard overgrowing his gnarled
|
||
|
figure like the grey moss and lichen upon a leafless
|
||
|
apple-tree. He wore breeches and the laced-up shoes
|
||
|
called ankle-jacks; he kept his eyes fixed upon the
|
||
|
fire.
|
||
|
Gabriel's nose was greeted by an atmosphere laden
|
||
|
with the sweet smell of new malt. The conversation
|
||
|
(which seemed to have been concerning the origin of the
|
||
|
fire) immediately ceased, and every one ocularly criticised
|
||
|
him to the degree expressed by contracting the flesh of
|
||
|
their foreheads and looking at him with narrowed eye-
|
||
|
lids, as if he had been a light too strong for their sight.
|
||
|
Several exclaimed meditatively, after this operation had
|
||
|
been completed: --
|
||
|
"Oh, 'tis the new shepherd, 'a b'lieve."
|
||
|
"We thought we heard a hand pawing about the
|
||
|
door for the bobbin, but weren't sure 'twere not a dead
|
||
|
leaf blowed across." said another. "Come in, shepherd;
|
||
|
sure ye be welcome, though we don't know yer name."
|
||
|
"Gabriel Oak, that's my name, neighbours."
|
||
|
The ancient maltster sitting in the midst turned up
|
||
|
this -- his turning being as the turning of a rusty
|
||
|
crane.
|
||
|
"That's never Gable Oak's grandson over at Nor-
|
||
|
combe -- never!" he said, as a formula expressive of
|
||
|
surprise, which nobody was supposed to take literally'.
|
||
|
"My father and my grandfather were old men of the
|
||
|
name of Gabriel." said the shepherd, placidly.
|
||
|
"Thought I knowed the man's face as I seed him
|
||
|
on the rick! -- thought I did! And where be ye trading
|
||
|
o't to now, shepherd?"
|
||
|
"I'm thinking of biding here." said Mr. Oak.
|
||
|
"Knowed yer grandfather for years and years!"
|
||
|
continued the maltster, the words coming forth of their
|
||
|
own accord as if the momentum previously imparted
|
||
|
had been sufficient.
|
||
|
"Ah -- and did you!"
|
||
|
"Knowed yer grandmother."
|
||
|
"And her too!"
|
||
|
"Likewise knowed yer father when he was a child.
|
||
|
Why, my boy Jacob there and your father were sworn
|
||
|
brothers -- that they were sure -- weren't ye, Jacob?"
|
||
|
"Ay, sure." said his son, a young man about sixty-
|
||
|
five, with a semi-bald head and one tooth in the left
|
||
|
centre of his upper jaw, which made much of itself by
|
||
|
standing prominent, like a milestone in a bank. "But
|
||
|
"twas Joe had most to do with him. However, my son
|
||
|
William must have knowed the very man afore us --
|
||
|
didn't ye, Billy, afore ye left Norcombe?"
|
||
|
"No, 'twas Andrew." said Jacob's son Billy, a child
|
||
|
of forty, or thereabouts, who manifested the peculiarity
|
||
|
of possessing a cheerful soul in a gloomy body, and
|
||
|
whose whiskers were assuming a chinchilla shade here
|
||
|
and there.
|
||
|
"I can mind Andrew." said Oak, "as being a man in
|
||
|
the place when I was quite a child."
|
||
|
"Ay -- the other day I and my youngest daughter,
|
||
|
Liddy, were over at my grandson's christening." continued
|
||
|
Billy. "We were talking about this very family, and
|
||
|
"twas only last Purification Day in this very world, when
|
||
|
the use-money is gied away to the second-best poor
|
||
|
folk, you know, shepherd, and I can mind the day
|
||
|
because they all had to traypse up to the vestry -- yes,
|
||
|
this very man's family."
|
||
|
"Come, shepherd, and drink. 'Tis gape and
|
||
|
swaller with us -- a drap of sommit, but not of much
|
||
|
account." said the maltster, removing from the fire his
|
||
|
eyes, which were vermilion-red and bleared by gazing
|
||
|
into it for so many years. "Take up the God-forgive-
|
||
|
me, Jacob. See if 'tis warm, Jacob."
|
||
|
Jacob stooped to the God-forgive-me, which was a
|
||
|
two-handled tall mug standing in the ashes, cracked
|
||
|
and charred with heat: it was rather furred with ex-
|
||
|
traneous matter about the outside, especially in the
|
||
|
crevices of the handles, the innermost curves of which
|
||
|
may not have seen daylight for several years by reason
|
||
|
of this encrustation thereon -- formed of ashes accident-
|
||
|
ally wetted with cider and baked hard; but to the mind
|
||
|
of any sensible drinker the cup was no worse for that,
|
||
|
being incontestably clean on the inside and about the
|
||
|
rim. It may be observed that such a class of mug is
|
||
|
called a God-forgive-me in Weatherbury and its vicinity
|
||
|
for uncertain reasons; probably because its size makes
|
||
|
any given toper feel ashamed of himself when he sees
|
||
|
its bottom in drinking it empty.
|
||
|
Jacob, on receiving the order to see if the liquor was
|
||
|
warm enough, placidly dipped his forefinger into it by
|
||
|
way of thermometer, and having pronounced it nearly
|
||
|
of the proper degree, raised the cup and very civilly
|
||
|
attempted to dust some of the ashes from the bottom
|
||
|
with the skirt of his smock-frock, because Shepherd Oak
|
||
|
was a stranger.
|
||
|
"A clane cup for the shepherd." said the maltster
|
||
|
commandingly.
|
||
|
"No -- not at all," said Gabriel, in a reproving tone
|
||
|
of considerateness. "I never fuss about dirt in its pure
|
||
|
state, and when I know what sort it is." Taking the
|
||
|
mug he drank an inch or more from the depth of its
|
||
|
contents, and duly passed it to the next man.
|
||
|
wouldn't think of giving such trouble to neighbours in
|
||
|
washing up when there's so much work to be done in
|
||
|
the world already." continued Oak in a moister tone,
|
||
|
after recovering from the stoppage of breath which is
|
||
|
occasioned by pulls at large mugs.
|
||
|
"A right sensible man." said Jacob.
|
||
|
"True, true; it can't be gainsaid!" observed a brisk
|
||
|
young man -- Mark Clark by name, a genial and pleasant
|
||
|
gentleman, whom to meet anywhere in your travels was
|
||
|
to know, to know was to drink with, and to drink with
|
||
|
was, unfortunately, to pay for.
|
||
|
"And here's a mouthful of bread and bacon that
|
||
|
mis'ess have sent, shepherd. The cider will go down
|
||
|
better with a bit of victuals. Don't ye chaw quite close,
|
||
|
shepherd, for I let the bacon fall in the road outside as
|
||
|
I was bringing it along, and may be 'tis rather gritty.
|
||
|
There, 'tis clane dirt; and we all know what that is,
|
||
|
as you say, and you bain't a particular man we see,
|
||
|
shepherd."
|
||
|
"True, true -- not at all." said the friendly Oak.
|
||
|
"Don't let your teeth quite meet, and you won't feel
|
||
|
the sandiness at all. Ah! 'tis wonderful what can be
|
||
|
done by contrivance!"
|
||
|
"My own mind exactly, neighbour."
|
||
|
"Ah, he's his grandfer's own grandson! -- his grandfer
|
||
|
were just such a nice unparticular man!" said the maltster.
|
||
|
"Drink, Henry Fray -- drink." magnanimously said
|
||
|
Jan Coggan, a person who held Saint-Simonian notions
|
||
|
of share and share alike where liquor was concerned, as
|
||
|
the vessel showed signs of approaching him in its gradual
|
||
|
revolution among them.
|
||
|
Having at this moment reached the end of a wistful
|
||
|
gaze into mid-air, Henry did not refuse. He was a man
|
||
|
of more than middle age, with eyebrows high up in his
|
||
|
forehead, who laid it down that the law of the world
|
||
|
was bad, with a long-suffering look through his listeners
|
||
|
at the world alluded to, as it presented itself to his
|
||
|
imagination. He always signed his name "Henery" --
|
||
|
strenuously insisting upon that spelling, and if any
|
||
|
passing schoolmaster ventured to remark that the second
|
||
|
"e" was superfluous and old-fashioned, he received the
|
||
|
reply that "H-e-n-e-r-y" was the name he was christened
|
||
|
and the name he would stick to -- in the tone of one
|
||
|
to whom orthographical differences were matters which
|
||
|
had a great deal to do with personal character.
|
||
|
Mr. Jan Coggan, who had passed the cup to Henery,
|
||
|
was a crimson man with a spacious countenance, and
|
||
|
private glimmer in his eye, whose name had appeared
|
||
|
on the marriage register of Weatherbury and neighbour-
|
||
|
ing parishes as best man and chief witness in countless
|
||
|
unions of the previous twenty years; he also very
|
||
|
frequently filled the post of head godfather in baptisms
|
||
|
of the subtly-jovial kind.
|
||
|
"Come, Mark Clark -- come. Ther's plenty more
|
||
|
in the barrel." said Jan.
|
||
|
"Ay -- that I will, 'tis my only doctor." replied Mr.
|
||
|
Clark, who, twenty years younger than Jan Coggan,
|
||
|
revolved in the same orbit. He secreted mirth on all
|
||
|
occasions for special discharge at popular parties.
|
||
|
"Why, Joseph Poorgrass, ye han't had a drop!" said
|
||
|
Mr. Coggan to a self-conscious man in the background,
|
||
|
thrusting the cup towards him.
|
||
|
"Such a modest man as he is!" said Jacob Smallbury.
|
||
|
"Why, ye've hardly had strength of eye enough to look
|
||
|
in our young mis'ess's face, so I hear, Joseph?"
|
||
|
All looked at Joseph Poorgrass with pitying reproach.
|
||
|
"No -- I've hardly looked at her at all." simpered
|
||
|
Joseph, reducing his body smaller whilst talking,
|
||
|
apparently from a meek sense of undue prominence.
|
||
|
"And when I seed her, 'twas nothing but blushes with
|
||
|
me!"
|
||
|
"Poor feller." said Mr. Clark.
|
||
|
"'Tis a curious nature for a man." said Jan Coggan.
|
||
|
"Yes." continued Joseph Poorgrass -- his shyness,
|
||
|
which was so painful as a defect, filling him with a
|
||
|
mild complacency now that it was regarded as an
|
||
|
interesting study. "'Twere blush, blush, blush with
|
||
|
me every minute of the time, when she was speaking
|
||
|
to me."
|
||
|
"I believe ye, Joseph Poorgrass, for we all know ye
|
||
|
to be a very bashful man."
|
||
|
"'Tis a' awkward gift for a man, poor soul." said the
|
||
|
maltster. "And ye have suffered from it a long time,
|
||
|
we know."
|
||
|
"Ay ever since I was a boy. Yes -- mother was
|
||
|
concerned to her heart about it -- yes. But twas all
|
||
|
nought."
|
||
|
"Did ye ever go into the world to try and stop it,
|
||
|
Joseph Poorgrass?"
|
||
|
"Oh ay, tried all sorts o' company. They took me
|
||
|
to Greenhill Fair, and into a great gay jerry-go-nimble
|
||
|
show, where there were women-folk riding round --
|
||
|
standing upon horses, with hardly anything on but their
|
||
|
smocks; but it didn't cure me a morsel. And then I
|
||
|
was put errand-man at the Women's Skittle Alley at the
|
||
|
back of the Tailor's Arms in Casterbridge. 'Twas a
|
||
|
horrible sinful situation, and a very curious place for a
|
||
|
good man. I had to stand and look ba'dy people in
|
||
|
the face from morning till night; but 'twas no use -- I
|
||
|
was just as-bad as ever after all. Blushes hev been
|
||
|
in the family for generations. There, 'tis a happy pro-
|
||
|
vidence that I be no worse."
|
||
|
"True." said Jacob Smallbury, deepening his thoughts
|
||
|
to a profounder view of the subject. "'Tis a thought
|
||
|
to look at, that ye might have been worse; but even
|
||
|
as you be, 'tis a very bad affliction for 'ee, Joseph. For
|
||
|
ye see, shepherd, though 'tis very well for a woman,
|
||
|
dang it all, 'tis awkward for a man like him, poor
|
||
|
feller?"
|
||
|
"'Tis -- 'tis." said Gabriel, recovering from a medita-
|
||
|
tion. "Yes, very awkward for the man."
|
||
|
"Ay, and he's very timid, too." observed Jan Coggan.
|
||
|
"Once he had been working late at Yalbury Bottom,
|
||
|
and had had a drap of drink, and lost his way as he was
|
||
|
coming home-along through Yalbury Wood, didn't ye,
|
||
|
Master Poorgrass?"
|
||
|
"No, no, no; not that story!" expostulated the
|
||
|
modest man, forcing a laugh to bury his concern.
|
||
|
"-- -- And so 'a lost himself quite." continued Mr
|
||
|
Coggan, with an impassive face, implying that a true
|
||
|
narrative, like time and tide, must run its course and
|
||
|
would respect no man. "And as he was coming along
|
||
|
in the middle of the night, much afeared, and not able
|
||
|
to find his way out of the trees nohow, 'a cried out,
|
||
|
"Man-a-lost! man-a-lost!" A owl in a tree happened
|
||
|
to be crying "Whoo-whoo-whoo!" as owls do, you
|
||
|
know, shepherd" (Gabriel nodded), " and Joseph, all
|
||
|
in a tremble, said, " Joseph Poorgrass, of Weatherbury,
|
||
|
sir!"
|
||
|
"No, no, now -- that's too much!" said the timid
|
||
|
man, becoming a man of brazen courage all of a sudden.
|
||
|
"I didn't say sir. I'll tike my oath I didn't say " Joseph
|
||
|
Poorgrass o' Weatherbury, sir." No, no; what's right
|
||
|
is right, and I never said sir to the bird, knowing very
|
||
|
well that no man of a gentleman's rank would be
|
||
|
hollering there at that time o' night." Joseph Poor-
|
||
|
grass of Weatherbury," -- that's every word I said, and
|
||
|
I shouldn't ha' said that if 't hadn't been for Keeper
|
||
|
Day's metheglin.... There, 'twas a merciful thing it
|
||
|
ended where it did."
|
||
|
The question of which was right being tacitly waived
|
||
|
by the company, Jan went on meditatively: --
|
||
|
"And he's the fearfullest man, bain't ye, Joseph?
|
||
|
Ay, another time ye were lost by Lambing-Down Gate,
|
||
|
weren't ye, Joseph?"
|
||
|
"I was." replied Poorgrass, as if there were some
|
||
|
conditions too serious even for modesty to remember
|
||
|
itself under, this being one.
|
||
|
"Yes; that were the middle of the night, too. The
|
||
|
gate would not open, try how he would, and knowing
|
||
|
there was the Devil's hand in it, he kneeled down."
|
||
|
"Ay." said Joseph, acquiring confidence from the
|
||
|
warmth of the fire, the cider, and a perception of the
|
||
|
narrative capabilities of the experience alluded to.
|
||
|
"My heart died within me, that time; but I kneeled
|
||
|
down and said the Lord's Prayer, and then the Belie
|
||
|
right through, and then the Ten Commandments, in
|
||
|
earnest prayer. But no, the gate wouldn't open; and
|
||
|
then I went on with Dearly Beloved Brethren, and,
|
||
|
thinks I, this makes four, and 'tis all I know out of
|
||
|
book, and if this don't do it nothing will, and I'm a
|
||
|
lost man. Well, when I got to Saying After Me, I
|
||
|
rose from my knees and found the gate would open
|
||
|
-- yes, neighbours, the gate opened the same as ever."
|
||
|
A meditation on the obvious inference was indulged
|
||
|
in by all, and during its continuance each directed his
|
||
|
vision into the ashpit, which glowed like a desert in
|
||
|
the tropics under a vertical sun, shaping their eyes long
|
||
|
and liny, partly because of the light, partly from the
|
||
|
depth of the subject discussed.
|
||
|
Gabriel broke the silence. "What sort of a place
|
||
|
is this to live at, and what sort of a mis'ess is she to
|
||
|
work under?" Gabriel's bosom thrilled gently as he
|
||
|
thus slipped under the notice of the assembly the inner-
|
||
|
most subject of his heart.
|
||
|
"We d' know little of her -- nothing. She only
|
||
|
showed herself a few days ago. Her uncle was took
|
||
|
bad, and the doctor was called with his world-wide
|
||
|
skill; but he couldn't save the man. As I take it,
|
||
|
she's going to keep on the farm.
|
||
|
"That's about the shape o't, 'a b'lieve." said Jan
|
||
|
uncle was a very fair sort of man. Did ye know en,
|
||
|
be under 'em as under one here and there. Her
|
||
|
uncle was a very fair sort of man. Did ye know 'en,
|
||
|
shepherd -- a bachelor-man?"
|
||
|
"Not at all."
|
||
|
"I used to go to his house a-courting my first wife,
|
||
|
Charlotte, who was his dairymaid. Well, a very good-
|
||
|
hearted man were Farmer Everdene, and I being a
|
||
|
respectable young fellow was allowed to call and see
|
||
|
her and drink as much ale as I liked, but not to carry
|
||
|
away any -- outside my skin I mane of course."
|
||
|
"Ay, ay, Jan Coggan; we know yer meaning."
|
||
|
"And so you see 'twas beautiful ale, and I wished
|
||
|
to value his kindness as much as I could, and not to
|
||
|
be so ill-mannered as to drink only a thimbleful, which
|
||
|
would have been insulting the man's generosity -- -- "
|
||
|
"True, Master Coggan, 'twould so." corroborated
|
||
|
Mark Clark.
|
||
|
" -- -- And so I used to eat a lot of salt fish afore
|
||
|
going, and then by the time I got there I were as dry
|
||
|
as a lime-basket -- so thorough dry that that ale would
|
||
|
slip down -- ah, 'twould slip down sweet! Happy
|
||
|
times! heavenly times! Such lovely drunks as I
|
||
|
used to have at that house! You can mind, Jacob?
|
||
|
You used to go wi' me sometimes."
|
||
|
"I can -- I can." said Jacob. "That one, too, that
|
||
|
we had at Buck's Head on a White Monday was a
|
||
|
pretty tipple."
|
||
|
"'Twas. But for a wet of the better class, that
|
||
|
brought you no nearer to the horned man than you were
|
||
|
afore you begun, there was none like those in Farmer
|
||
|
Everdene's kitchen. Not a single damn allowed; no,
|
||
|
not a bare poor one, even at the most cheerful moment
|
||
|
when all were blindest, though the good old word of
|
||
|
sin thrown in here and there at such times is a great
|
||
|
relief to a merry soul."
|
||
|
"True." said the maltster. "Nater requires her
|
||
|
swearing at the regular times, or she's not herself; and
|
||
|
unholy exclamations is a necessity of life."
|
||
|
"But Charlotte." continued Coggan -- "not a word of
|
||
|
the sort would Charlotte allow, nor the smallest item of
|
||
|
taking in vain.... Ay, poor Charlotte, I wonder if she
|
||
|
had the good fortune to get into Heaven when 'a died!
|
||
|
But 'a was never much in luck's way, and perhaps 'a
|
||
|
went downwards after all, poor soul."
|
||
|
"And did any of you know Miss Everdene's-father
|
||
|
and mother?" inquired the shepherd, who found some
|
||
|
difficulty in keeping the conversation in the desired
|
||
|
channel.
|
||
|
"I knew them a little." said Jacob Smallbury; "but
|
||
|
they were townsfolk, and didn't live here. They've
|
||
|
been dead for years. Father, what sort of people were
|
||
|
mis'ess' father and mother?"
|
||
|
"Well." said the maltster, "he wasn't much to look
|
||
|
at; but she was a lovely woman. He was fond enough
|
||
|
of her as his sweetheart."
|
||
|
"Used to kiss her scores and long-hundreds o times,
|
||
|
so 'twas said." observed Coggan.
|
||
|
"He was very proud of her, too, when they were
|
||
|
married, as I've been told." said the maltster.
|
||
|
"Ay." said Coggan. "He admired her so much that
|
||
|
he used to light the candle three time a night to look
|
||
|
at her."
|
||
|
"Boundless love; I shouldn't have supposed it in the
|
||
|
universe!" murmered Joseph Poorgrass, who habitually
|
||
|
spoke on a large scale in his moral reflections.
|
||
|
"Well, to be sure." said Gabriel.
|
||
|
"Oh, 'tis true enough. I knowed the man and
|
||
|
woman both well. Levi Everdene -- that was the man's
|
||
|
name, sure. "Man." saith I in my hurry, but he were
|
||
|
of a higher circle of life than that -- 'a was a gentleman-
|
||
|
tailor really, worth scores of pounds. And he became
|
||
|
a very celebrated bankrupt two or three times."
|
||
|
"Oh, I thought he was quite a common man!" said
|
||
|
Joseph.
|
||
|
"O no, no! That man failed for heaps of money;
|
||
|
hundreds in gold and silver."
|
||
|
The maltster being rather short of breath, Mr. Coggan,
|
||
|
after absently scrutinising a coal which had fallen among
|
||
|
the ashes, took up the narrative, with a private twirl of
|
||
|
his eye: --
|
||
|
"Well, now, you'd hardly believe it, but that man --
|
||
|
husbands alive, after a while. Understand? 'a didn't
|
||
|
want to be fickle, but he couldn't help it. The poor
|
||
|
feller were faithful and true enough to her in his wish,
|
||
|
but his heart would rove, do what he would. He spoke
|
||
|
to me in real tribulation about it once. "Coggan,"
|
||
|
he said, "I could never wish for a handsomer woman
|
||
|
than I've got, but feeling she's ticketed as my lawful
|
||
|
wife, I can't help my wicked heart wandering, do what
|
||
|
I will." But at last I believe he cured it by making her
|
||
|
take off her wedding-ring and calling her by her maiden
|
||
|
name as they sat together after the shop was shut, and
|
||
|
so 'a would get to fancy she was only his sweetheart, and
|
||
|
not married to him at all. And as soon as he could
|
||
|
thoroughly fancy he was doing wrong and committing
|
||
|
the seventh, 'a got to like her as well as ever, and they
|
||
|
lived on a perfect picture of mutel love."
|
||
|
"Well, 'twas a most ungodly remedy." murmured
|
||
|
Joseph Poorgrass; "but we ought to feel deep cheerful-
|
||
|
ness that a happy Providence kept it from being any
|
||
|
worse. You see, he might have gone the bad road and
|
||
|
given his eyes to unlawfulness entirely -- yes, gross un-
|
||
|
lawfulness, so to say it."
|
||
|
"You see." said Billy Smallbury, "The man's will was
|
||
|
to do right, sure enough, but his heart didn't chime in."
|
||
|
"He got so much better, that he was quite godly
|
||
|
in his later years, wasn't he, Jan?" said Joseph Poor-
|
||
|
grass. "He got himself confirmed over again in a more
|
||
|
serious way, and took to saying "Amen" almost as loud
|
||
|
as the clerk, and he liked to copy comforting verses
|
||
|
from the tombstones. He used, too, to hold the money-
|
||
|
plate at Let Your Light so Shine, and stand godfather
|
||
|
to poor little come-by-chance children; and he kept a
|
||
|
missionary box upon his table to nab folks unawares
|
||
|
when they called; yes, and he would-box the charity-
|
||
|
boys' ears, if they laughed in church, till they could
|
||
|
hardly stand upright, and do other deeds of piety
|
||
|
natural to the saintly inclined."
|
||
|
"Ay, at that time he thought of nothing but high
|
||
|
things." added Billy Smallbury. "One day Parson Thirdly
|
||
|
met him and said, "Good-Morning, Mister Everdene; 'tis
|
||
|
a fine day!" "Amen" said Everdene, quite absent-
|
||
|
like, thinking only of religion when he seed a parson-
|
||
|
"Their daughter was not at all a pretty chile at that
|
||
|
time." said Henery Fray. "Never should have. thought
|
||
|
she'd have growed up such a handsome body as she is."
|
||
|
"'Tis to be hoped her temper is as good as her face."
|
||
|
"Well, yes; but the baily will have most to do with
|
||
|
the business and ourselves. Ah!" Henery gazed into
|
||
|
the ashpit, and smiled volumes of ironical knowledge.
|
||
|
"A queer Christian, like the Devil's head in a cowl,
|
||
|
"He is." said Henery, implying that irony must cease
|
||
|
at a certain point. "Between we two, man and man, I
|
||
|
believe that man would as soon tell a lie Sundays as
|
||
|
working-days -- that I do so."
|
||
|
"Good faith, you do talk!" said Gabriel.
|
||
|
"True enough." said the man of bitter moods, looking
|
||
|
round upon the company with the antithetic laughter
|
||
|
that comes from a keener appreciation of the miseries
|
||
|
of life than ordinary men are capable of. 'Ah, there's
|
||
|
people of one sort, and people of another, but that man
|
||
|
-- bless your souls!"
|
||
|
Gabriel thought fit to change the subject. "You
|
||
|
must be a very aged man, malter, to have sons growed
|
||
|
mild and ancient" he remarked.
|
||
|
"Father's so old that 'a can't mind his age, can ye,
|
||
|
father?" interposed Jacob. "And he growled terrible
|
||
|
crooked too, lately" Jacob continued, surveying his
|
||
|
father's figure, which was rather more bowed than his own.
|
||
|
"Really one may say that father there is three-double."
|
||
|
"Crooked folk will last a long while." said the maltster,
|
||
|
grimly, and not in the best humour.
|
||
|
"Shepherd would like to hear the pedigree of yer
|
||
|
life, father -- wouldn't ye, shepherd?
|
||
|
"Ay that I should." said Gabriel with the heartiness
|
||
|
of a man who had longed to hear it for several months.
|
||
|
"What may your age be, malter?"
|
||
|
The maltster cleared his throat in an exaggerated
|
||
|
form for emphasis, and elongating his gaze to the
|
||
|
remotest point of the ashpit! said, in the slow speech
|
||
|
justifiable when the importance of a subject is so
|
||
|
generally felt that any mannerism must be tolerated
|
||
|
in getting at it, "Well, I don't mind the year I were
|
||
|
born in, but perhaps I can reckon up the places I've
|
||
|
lived at, and so get it that way. I bode at Upper Long-
|
||
|
puddle across there" (nodding to the north) "till I were
|
||
|
eleven. I bode seven at Kingsbere" (nodding to the
|
||
|
east) "where I took to malting. I went therefrom to
|
||
|
Norcombe, and malted there two-and-twenty years, and-
|
||
|
two-and-twenty years I was there turnip-hoeing and
|
||
|
harvesting. Ah, I knowed that old place, Norcombe,
|
||
|
years afore you were thought of, Master Oak" (Oak smiled
|
||
|
sincere belief in the fact). "Then I malted at Dur-
|
||
|
nover four year, and four year turnip-hoeing; and
|
||
|
I was fourteen times eleven months at Millpond St.
|
||
|
Jude's" (nodding north-west-by-north). "Old Twills
|
||
|
wouldn't hire me for more than eleven months at a
|
||
|
time, to keep me from being chargeable to the parish
|
||
|
if so be I was disabled. Then I was three year at
|
||
|
Mellstock, and I've been here one-and-thirty year come
|
||
|
Candlemas. How much is that?"
|
||
|
"Hundred and seventeen." chuckled another old
|
||
|
gentleman, given to mental arithmetic and little con-
|
||
|
versation, who had hitherto sat unobserved in a corner.
|
||
|
"Well, then, that's my age." said the maltster, em-
|
||
|
phatically.
|
||
|
"O no, father!" said Jacob. "Your turnip-hoeing
|
||
|
were in the summer and your malting in the winter of
|
||
|
the same years, and ye don't ought to count-both halves
|
||
|
father."
|
||
|
"Chok' it all! I lived through the summers, didn't
|
||
|
I? That's my question. I suppose ye'll say next I be
|
||
|
no age at all to speak of?"
|
||
|
"Sure we shan't." said Gabriel, soothingly.
|
||
|
"Ye be a very old aged person, malter." attested Jan
|
||
|
must have a wonderful talented constitution to be able
|
||
|
to live so long, mustn't he, neighbours?"
|
||
|
"True, true; ye must, malter, wonderful," said the
|
||
|
meeting unanimously.
|
||
|
The maltster, being know pacified, was even generous
|
||
|
enough to voluntarily disparage in a slight degree the
|
||
|
virtue of having lived a great many years, by mentioning
|
||
|
that the cup they were drinking out of was three years
|
||
|
older than he.
|
||
|
While the cup was being examined, the end of
|
||
|
Gabriel Oak's flute became visible over his smock-frock
|
||
|
I seed you blowing into a great flute by now at Caster-
|
||
|
bridge?"
|
||
|
"You did." said Gabriel, blushing faintly. "I've been
|
||
|
in great trouble, neighbours, and was driven to it.
|
||
|
take it careless-like, shepherd and your time will come
|
||
|
tired?"
|
||
|
"Neither drum nor trumpet have I heard since
|
||
|
Christmas." said Jan Coggan. "Come, raise a tune,
|
||
|
Master Oak!"
|
||
|
"That I will." said Gabriel, pulling out his flute and
|
||
|
putting it together. "A poor tool, neighbours; but
|
||
|
such as I can do ye shall have and welcome."
|
||
|
Oak then struck up "Jockey to the Fair." and played
|
||
|
that sparkling melody three times through accenting the
|
||
|
notes in the third round in a most artistic and lively
|
||
|
manner by bending his body in small jerks and tapping
|
||
|
with his foot to beat time.
|
||
|
"He can blow the flute very well -- that 'a can." said
|
||
|
a young married man, who having no individuality worth
|
||
|
mentioning was known as "Susan Tall's husband." He
|
||
|
continued, "I'd as lief as not be able to blow into a
|
||
|
flute as well-as that."
|
||
|
"He's a clever man, and 'tis a true comfort for us to
|
||
|
have such a shepherd." murmured Joseph Poorgrass, in
|
||
|
a soft cadence. "We ought to feel full o' thanksgiving
|
||
|
that he's not a player of ba'dy songs 'instead of these
|
||
|
merry tunes; for 'twould have been just as easy for God
|
||
|
to have made the shepherd a loose low man -- a man of
|
||
|
iniquity, so to speak it -- as what he is. Yes, for our wives"
|
||
|
and daughters' sakes we should feel real thanks giving."
|
||
|
"True, true, -- real thanksgiving!" dashed in Mark
|
||
|
Clark conclusively, not feeling it to be of any conse-
|
||
|
quence to his opinion that he had only heard about a
|
||
|
word and three-quarters of what Joseph had said.
|
||
|
"Yes." added Joseph, beginning to feel like a man in
|
||
|
the Bible; "for evil do thrive so in these times that ye
|
||
|
may be as much deceived in the cleanest shaved and
|
||
|
whitest shirted man as in the raggedest tramp upon the
|
||
|
turnpike, if I may term it so."
|
||
|
"Ay, I can mind yer face now, shepherd." said
|
||
|
Henery Fray, criticising Gabriel with misty eyes as he
|
||
|
entered upon his second tune. "Yes -- now I see 'ee
|
||
|
blowing into the flute I know 'ee to be the same man
|
||
|
I see play at Casterbridge, for yer mouth were scrimped
|
||
|
up and yer eyes a-staring out like a strangled man's --
|
||
|
just as they be now."
|
||
|
"'Tis a pity that playing the flute should make a man
|
||
|
look such a scarecrow." observed Mr. Mark Clark, with
|
||
|
additional criticism of Gabriel's countenance, the latter
|
||
|
person jerking out, with the ghastly grimace required by
|
||
|
the instrument, the chorus of "Dame Durden!
|
||
|
"I hope you don't mind that young man's bad
|
||
|
manners in naming your features?" whispered Joseph to
|
||
|
Gabriel.
|
||
|
"Not at all." said Mr. Oak.
|
||
|
"For by nature ye be a very handsome man,
|
||
|
shepherd." continued Joseph Poorgrass, with winning
|
||
|
sauvity.
|
||
|
"Ay, that ye be, shepard." said the company.
|
||
|
"Thank you very much." said Oak, in the modest
|
||
|
tone good manners demanded, thinking, however, that
|
||
|
he would never let Bathsheba see him playing the
|
||
|
flute; in this severe showing a discretion equal to that
|
||
|
related to its sagacious inventress, the divine Minerva
|
||
|
herself.
|
||
|
"Ah, when I and my wife were married at Norcombe
|
||
|
Church." said the old maltster, not pleased at finding
|
||
|
himself left out of the subject "we were called the
|
||
|
handsomest couple in the neighbourhood -- everybody
|
||
|
said so."
|
||
|
"Danged if ye bain't altered now, malter." said a voice
|
||
|
with the vigour natural to the enunciation of a remark-
|
||
|
ably evident truism. It came from the old man in the
|
||
|
background, whose offensiveness and spiteful ways were
|
||
|
barely atoned for by the occasional chuckle he con-
|
||
|
tributed to general laughs.
|
||
|
"O no, no." said Gabriel.
|
||
|
"Don't ye play no more shepherd" said Susan Tall's
|
||
|
husband, the young married man who had spoken once
|
||
|
before. "I must be moving and when there's tunes
|
||
|
going on I seem as if hung in wires. If I thought after
|
||
|
I'd left that music was still playing, and I not there, I
|
||
|
should be quite melancholy-like."
|
||
|
"What's yer hurry then, Laban?" inquired Coggan.
|
||
|
"You used to bide as late as the latest."
|
||
|
"Well, ye see, neighbours, I was lately married to a
|
||
|
woman, and she's my vocation now, and so ye see -- -- "
|
||
|
The young man hated lamely.
|
||
|
"New Lords new laws, as the saying is, I suppose,"
|
||
|
remarked Coggan.
|
||
|
"Ay, 'a b'lieve -- ha, ha!" said Susan Tall's husband,
|
||
|
in a tone intended to imply his habitual reception of
|
||
|
jokes without minding them at all. The young man
|
||
|
then wished them good-night and withdrew.
|
||
|
Henery Fray was the first to follow. Then Gabriel
|
||
|
arose and went off with Jan Coggan, who had offered
|
||
|
him a lodging. A few minutes later, when the remaining
|
||
|
ones were on their legs and about to depart, Fray came
|
||
|
back again in a hurry. Flourishing his finger ominously
|
||
|
he threw a gaze teeming with tidings just -- where his eye
|
||
|
alighted by accident, which happened to be in Joseph
|
||
|
Poorgrass's face.
|
||
|
"O -- what's the matter, what's the matter, Henery?"
|
||
|
said Joseph, starting back.
|
||
|
"What's a-brewing, Henrey?" asked Jacob and Mark
|
||
|
Clark.
|
||
|
"Baily Pennyways -- Baily Pennyways -- I said so; yes,
|
||
|
I said so!"
|
||
|
"What, found out stealing anything?"
|
||
|
"Stealing it is. The news is, that after Miss
|
||
|
Everdene got home she went out again to see all was
|
||
|
safe, as she usually do, and coming in found Baily
|
||
|
Pennyways creeping down the granary steps with half a
|
||
|
a bushel of barley. She fleed at him like a cat -- never
|
||
|
such a tomboy as she is -- of course I speak with closed
|
||
|
doors?"
|
||
|
"You do -- you do, Henery."
|
||
|
"She fleed at him, and, to cut a long story short,
|
||
|
he owned to having carried off five sack altogether, upon
|
||
|
her promising not to persecute him. Well, he's turned
|
||
|
out neck and crop, and my question is, who's going to
|
||
|
be baily now?"
|
||
|
The question was such a profound one that Henery
|
||
|
was obliged to drink there and then from the large
|
||
|
cup till the bottom was distinctly visible inside. Before
|
||
|
he had replaced it on the table, in came the young man,
|
||
|
Susan Tall's husband, in a still greater hurry.
|
||
|
"Have ye heard the news that's all over parish?"
|
||
|
"About Baily Pennyways?"
|
||
|
"But besides that?"
|
||
|
"No -- not a morsel of it!" they replied, looking into
|
||
|
the very midst of Laban Tall as if to meet his words
|
||
|
half-way down his throat.
|
||
|
"What a night of horrors!" murmured Joseph Poor-
|
||
|
grass, waving his hands spasmodically. "I've had the
|
||
|
news-bell ringing in my left ear quite bad enough for a
|
||
|
murder, and I've seen a magpie all alone!"
|
||
|
"Fanny Robin -- Miss everdene's youngest servant --
|
||
|
can't be found. They've been wanting to lock up the
|
||
|
door these two hours, but she isn't come in. And they
|
||
|
don't know what to do about going to hed for fear of
|
||
|
locking her out. They wouldn't be so concerned if she
|
||
|
hadn't been noticed in such low spirits these last few
|
||
|
days, and Maryann d'think the beginning of a crowner's
|
||
|
inquest has happened to the poor girl."
|
||
|
"O -- 'tis burned -- 'tis burned!" came from Joseph
|
||
|
Poorgrass's dry lips.
|
||
|
"No -- 'tis drowned!" said Tall.
|
||
|
"Or 'tis her father's razor!" suggested Billy Smallbury,
|
||
|
with a vivid sense of detail.
|
||
|
"Well -- Miss Everdene wants to speak to one or two
|
||
|
of us before we go to bed. What with this trouble about
|
||
|
the baily, and now about the girl, mis'ess is almost wild."
|
||
|
They all hastened up the lane to the farmhouse,
|
||
|
excepting the old maltster, whom neither news, fire,
|
||
|
rain, nor thunder could draw from his hole. There, as
|
||
|
the others' footsteps died away he sat down again and
|
||
|
continued gazing as usual into the furnace with his red,
|
||
|
bleared eyes.
|
||
|
From the bedroom window above their heads Bath-
|
||
|
sheba's head and shoulders, robed in mystic white, were
|
||
|
dimly seen extended into the air.
|
||
|
"Are any of my men among you?" she said anxiously.
|
||
|
"Yes, ma'am, several." said Susan Tall's husband.
|
||
|
"Tomorrow morning I wish two or three of you to
|
||
|
make inquiries in the villages round if they have seen
|
||
|
such a person as Fanny Robin. Do it quietly; there is
|
||
|
no reason for alarm as yet. She must have left whilst
|
||
|
we were all at the fire."
|
||
|
"I beg yer pardon, but had she any young man court-
|
||
|
ing her in the parish, ma'am?" asked Jacob Smallbury.
|
||
|
"I don't know." said Bathsheba.
|
||
|
"I've never heard of any such thing, ma'am." said
|
||
|
two or three.
|
||
|
"It is hardly likely, either." continued Bathsheba.
|
||
|
"For any lover of hers might have come to the house if
|
||
|
he had been a respectable lad. The most mysterious
|
||
|
matter connected with her absence -- indeed, the only
|
||
|
thing which gives me serious alarm -- is that she was
|
||
|
seen to go out of the house by Maryann with only her
|
||
|
indoor working gown on -- not even a bonnet."
|
||
|
"And you mean, ma'am, excusing my words, that a
|
||
|
young woman would hardly go to see her young man
|
||
|
without dressing up." said Jacob, turning his mental
|
||
|
vision upon past experiences. "That's true -- she would
|
||
|
not, ma'am."
|
||
|
"She had, I think, a bundle, though I couldn't see
|
||
|
very well." said a female voice from another window,
|
||
|
which seemed that of Maryann. "But she had no
|
||
|
young man about here. Hers lives in Casterbridge, and
|
||
|
I believe he's a soldier."
|
||
|
"Do you know his name?" Bathsheba said.
|
||
|
"No, mistress; she was very close about it."
|
||
|
"Perhaps I might be able to find out if I went to
|
||
|
Casterbridge barracks." said William Smallbury.
|
||
|
"Very well; if she doesn't return tomorrow, mind
|
||
|
you go there and try to discover which man it is, and
|
||
|
see him. I feel more responsible than I should if she
|
||
|
had had any friends or relations alive. I do hope she
|
||
|
has come to no harm through a man of that kind....
|
||
|
And then there's this disgraceful affair of the bailiff --
|
||
|
but I can't speak of him now."
|
||
|
Bathsheba had so many reasons for uneasiness that
|
||
|
it seemed she did not think it worth while to dwell
|
||
|
upon any particular one. "Do as I told you, then"
|
||
|
she said in conclusion, closing the casement.
|
||
|
"Ay, ay, mistress; we will." they replied, and moved
|
||
|
away.
|
||
|
That night at Coggan's, Gabriel Oak, beneath the
|
||
|
screen of closed eyelids, was busy with fancies, and full
|
||
|
of movement, like a river flowing rapidly under its ice.
|
||
|
Night had always been the time at which he saw Bath-
|
||
|
sheba most vividly, and through the slow hours of
|
||
|
shadow he tenderly regarded her image now. It is
|
||
|
rarely that the pleasures of the imagination will compen-
|
||
|
sate for the pain of sleeplessness, but they possibly did
|
||
|
with Oak to-night, for the delight of merely seeing her
|
||
|
effaced for the time his perception of the great differ-
|
||
|
ence between seeing and possessing.
|
||
|
He also thought of Plans for fetching his few utensils
|
||
|
and books from Norcombe. The Young Man's Best
|
||
|
Companion, The Farrier's Sure Guide, The Veterinary
|
||
|
Surgeon, Paradise Lost, The Pilgrim's Progress, Robinson
|
||
|
Crusoe, Ash's Dictionary, the Walkingame's Arithmetic,
|
||
|
constituted his library; and though a limited series, it was
|
||
|
one from which he had acquired more sound informa-
|
||
|
tion by diligent perusal than many a man of opportunities
|
||
|
has done from a furlong of laden shelves.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER IX
|
||
|
|
||
|
|
||
|
|
||
|
THE HOMESTEAD -- A VISITOR -- HALF-CONFIDENCES
|
||
|
|
||
|
|
||
|
By daylight, the Bower of Oak's new-found mistress,
|
||
|
Bathsheba Everdene, presented itself as a hoary build-
|
||
|
ing, of the early stage of Classic Renaissance as regards
|
||
|
its architecture, and of 'a proportion which told at a
|
||
|
glance that, as is so frequently the case, it had once
|
||
|
been the memorial hall upon a small estate around it,
|
||
|
now altogether effaced as a distinct property, and merged
|
||
|
in the vast tract of a non-resident landlord, which com-
|
||
|
prised several such modest demesnes.
|
||
|
Fluted pilasters, worked from the solid stone,
|
||
|
decorated its front, and above the roof the chimneys
|
||
|
were panelled or columnar, some coped gables with
|
||
|
finials and like features still retaining traces of their
|
||
|
Gothic extraction. Soft Brown mosses, like faded
|
||
|
velveteen, formed cushions upon the stone tiling, and
|
||
|
tufts of the houseleek or sengreen sprouted from the
|
||
|
eaves of the low surrounding buildings. A gravel walk
|
||
|
leading from the door to the road in front was encrusted
|
||
|
at the sides with more moss -- here it was a silver-green
|
||
|
variety, the nut-brown of the gravel being visible to the
|
||
|
width of only a foot or two in the centre. This circum-
|
||
|
stance, and the generally sleepy air of the whole prospect
|
||
|
here, together with the animated and contrasting state
|
||
|
of the reverse facade, suggested to the imagination that
|
||
|
on the adaptation of the building for farming purposes
|
||
|
the vital principle' of the house had turned round inside
|
||
|
its body to face the other way. Reversals of this kind,
|
||
|
strange deformities, tremendous paralyses, are often seen
|
||
|
to be inflicted by trade upon edifices -- either individual
|
||
|
or in the aggregate as streets and towns -- which were
|
||
|
originally planned for pleasure alone.
|
||
|
Lively voices were heard this morning in the upper
|
||
|
rooms, the main staircase to which was of hard oak, the
|
||
|
balusters, heavy as bed-posts, being turned and moulded
|
||
|
in the quaint fashion of their century, the handrail as
|
||
|
stout as a parapet-top, and the stairs themselves con-
|
||
|
tinually twisting round like a person trying to look over
|
||
|
his shoulder. Going up, the floors above were found
|
||
|
to have a very irregular surface, rising to ridges, sinking
|
||
|
into valley; and being just then uncarpeted, the face
|
||
|
of the boards was seen to be eaten into innumerable
|
||
|
the opening and shutting of every door a tremble
|
||
|
followed every bustling movement, and a creak accom-
|
||
|
panied a walker about the house like a spirit, wherever-
|
||
|
he went.
|
||
|
In the room from which the conversation proceeded,
|
||
|
Bathsheba and her servant-companion, Liddy Small-
|
||
|
bury were to be discovered sitting upon the floor, and
|
||
|
sorting a complication of papers, books, bottles, and
|
||
|
rubbish spread out thereon -- remnants from the house-
|
||
|
hold stores of the late occupier. Liddy, the maltster's
|
||
|
great-granddaughter, was about Bathsheba's equal in
|
||
|
age, and her face was a prominent advertisement of the
|
||
|
features' might have lacked in form was amply made up
|
||
|
for by perfection of hue, which at this winter-time was
|
||
|
the softened ruddiness on a surface of high rotundity
|
||
|
and, like the presentations of those great colourists, it
|
||
|
was a face which kept well back from the boundary
|
||
|
between comeliness and the ideal. Though elastic in
|
||
|
nature she was less daring than Bathsheba, and occa-
|
||
|
sionally showed some earnestness, which consisted half
|
||
|
of genuine feeling, and half of mannerliness superadded
|
||
|
by way of duty.
|
||
|
Through a partly-opened door the noise of a scrubbing-
|
||
|
brush led up to the charwoman, Maryann Money, a person
|
||
|
who for a face had a circular disc, furrowed less by age
|
||
|
than by long gazes of perplexity at distant objects. To
|
||
|
think of her was to get good-humoured; to speak of
|
||
|
her was to raise the image of a dried Normandy
|
||
|
pippin.
|
||
|
"Stop your scrubbing a moment." said Bathsheba
|
||
|
through the door to her. "I hear something."
|
||
|
Maryann suspended the brush.
|
||
|
The tramp of a horse was apparent, approaching the
|
||
|
front of the building. The paces slackened, turned in
|
||
|
at the wicket, and, what was most unusual, came up
|
||
|
the mossy path close to the door. The door was
|
||
|
tapped with the end of a crop or stick.
|
||
|
"What impertinence!" said Liddy, in a low voice.
|
||
|
"To ride up the footpath like that! Why didn't he
|
||
|
stop at the gate? Lord! 'Tis a gentleman! I see the
|
||
|
top of his hat."
|
||
|
"Be quiet!" said Bathsheba.
|
||
|
The further expression of Liddy's concern was con-
|
||
|
tinued by aspect instead of narrative.
|
||
|
"Why doesn't Mrs. Coggan go to the door?" Bath-
|
||
|
sheba continued.
|
||
|
Rat-tat-tat-tat, resounded more decisively from Bath-
|
||
|
sheba's oak.
|
||
|
"Maryann, you go!" said she, fluttering under the
|
||
|
onset of a crowd of romantic possibilities.
|
||
|
"O ma'am -- see, here's a mess!"
|
||
|
The argument was unanswerable after a glance at
|
||
|
Maryann.
|
||
|
"Liddy -- you must." said Bathsheba.
|
||
|
Liddy held up her hands and arms, coated with dust
|
||
|
from the rubbish they were sorting, and looked implor-
|
||
|
ingly at her mistress.
|
||
|
"There -- Mrs. Coggan is going!" said Bathsheba,
|
||
|
exhaling her relief in the form of a long breath which
|
||
|
had lain in her bosom a minute or more.
|
||
|
The door opened, and a deep voice said --
|
||
|
"Is Miss Everdene at home?"
|
||
|
"I'll see, sir." said Mrs. Coggan, and in a minute
|
||
|
appeared in the room.
|
||
|
"Dear, what a thirtover place this world is!" con-
|
||
|
tinued Mrs. Coggan (a wholesome-looking lady who
|
||
|
had a voice for each class of remark according to the
|
||
|
emotion involved; who could toss a pancake or twirl
|
||
|
a mop with the accuracy of pure mathematics, and
|
||
|
who at this moment showed hands shaggy with frag-
|
||
|
ments of dough and arms encrusted with flour). "I
|
||
|
am never up to my elbows, Miss, in making a pudding
|
||
|
but one of two things do happen -- either my nose must
|
||
|
needs begin tickling, and I can't live without scratching
|
||
|
A woman's dress being a part of her countenance,
|
||
|
and any disorder in the one being of the same nature
|
||
|
with a malformation or wound in the other, Bathsheba
|
||
|
said at once --
|
||
|
"I can't see him in this state. Whatever shall I do?"
|
||
|
Not-at-homes were hardly naturalized in Weatherbury
|
||
|
farmhouses, so Liddy suggested -- "Say you're a fright
|
||
|
with dust, and can't come down."
|
||
|
"Yes -- that sounds very well." said Mrs. Coggan,
|
||
|
critically.
|
||
|
"Say I can't see him -- that will do."
|
||
|
Mrs. Coggan went downstairs, and returned the
|
||
|
answer as requested, adding, however, on her own
|
||
|
responsibility, "Miss is dusting bottles, sir, and is quite
|
||
|
a object -- that's why 'tis."
|
||
|
"Oh, very well." said the deep voice." indifferently.
|
||
|
"All I wanted to ask was, if anything had been heard
|
||
|
of Fanny Robin?"
|
||
|
"Nothing, sir -- but we may know to-night. William
|
||
|
Smallbury is gone to Casterbridge, where her young
|
||
|
man lives, as is supposed, and the other men be inquir-
|
||
|
ing about everywhere."
|
||
|
The horse's tramp then recommenced and -retreated,
|
||
|
and the door closed.
|
||
|
"Who is Mr. Boldwood?" said Bathsheba.
|
||
|
"A gentleman-farmer at Little Weatherbury."
|
||
|
"Married?"
|
||
|
"No, miss."
|
||
|
"How old is he?"
|
||
|
"Forty, I should say -- very handsome -- rather stern-
|
||
|
looking -- and rich."
|
||
|
"What a bother this dusting is! I am always in
|
||
|
some unfortunate plight or other," Bathsheba said,
|
||
|
complainingly. "Why should he inquire about Fanny?"
|
||
|
"Oh, because, as she had no friends in her childhood,
|
||
|
he took her and put her to school, and got her her
|
||
|
place here under your uncle. He's a very kind man
|
||
|
that way, but Lord -- there!"
|
||
|
"What?"
|
||
|
"Never was such a hopeless man for a woman!
|
||
|
He's been courted by sixes and sevens -- all the girls,
|
||
|
gentle and simple, for miles round, have tried him. Jane
|
||
|
Perkins worked at him for two months like a slave,
|
||
|
and the two Miss Taylors spent a year upon him,
|
||
|
and he cost Farmer Ives's daughter nights of tears
|
||
|
and twenty pounds' worth of new clothes; but Lord --
|
||
|
the money might as well have been thrown out of the
|
||
|
window."
|
||
|
A little boy came up at this moment and looked in
|
||
|
upon them. This child was one of the Coggans who,
|
||
|
with the Smallburys, were as common among the
|
||
|
families of this district as the Avons and Derwents
|
||
|
among our rivers. He always had a loosened tooth or
|
||
|
a cut finger to show to particular friends, which he did
|
||
|
with an air of being thereby elevated above the common
|
||
|
herd of afflictionless humanity -- to which exhibition
|
||
|
of congratulation as well as pity.
|
||
|
"I've got a pen-nee!" said Master Coggan in a
|
||
|
scanning measure.
|
||
|
"Well -- who gave it you, Teddy?" said Liddy.
|
||
|
"Mis-terr Bold-wood! He gave it to me for opening
|
||
|
the gate."
|
||
|
"What did he say?"
|
||
|
"He said "Where are you going, my little man?'"
|
||
|
and I said, "To Miss Everdene's please," and he said,
|
||
|
"She is a staid woman, isn't she, my little man?" and
|
||
|
I said, "Yes."
|
||
|
"You naughty child! What did you say that for?"
|
||
|
"Cause he gave me the penny!"
|
||
|
"What a pucker everything is in!" said Bathsheba,
|
||
|
discontentedly when the child had gone. 'Get away,
|
||
|
thing! You ought to be married by this time, and not
|
||
|
here troubling me!"
|
||
|
"Ay, mistress -- so I did. But what between the poor
|
||
|
men I won't have, and the rich men who won't have me,
|
||
|
I stand as a pelicon in the wilderness!"
|
||
|
"Did anybody ever want to marry you miss?" Liddy
|
||
|
ventured to ask when they were again alone. "Lots of
|
||
|
"em, i daresay.?"
|
||
|
Bathsheba paused, as if about to refuse a reply, but
|
||
|
the temptation to say yes, since it was really in her
|
||
|
power was irresistible by aspiring virginity, in spite of
|
||
|
her spleen at having been published as old.
|
||
|
"A man wanted to once." she said, in a highly experi-
|
||
|
enced tone and the image of Gabriel Oak, as the farmer,
|
||
|
rose before her.
|
||
|
"How nice it must seem!" said Liddy, with the fixed
|
||
|
features of mental realization. "And you wouldn't have
|
||
|
him?"
|
||
|
"He wasn't quite good enough for me."
|
||
|
"How sweet to be able to disdain, when most of us
|
||
|
are glad to say, "Thank you!" I seem I hear it.
|
||
|
"No, sir -- I'm your better." or "Kiss my foot, sir; my
|
||
|
face is for mouths of consequence." And did you love
|
||
|
him, miss?"
|
||
|
"Oh, no. But I rather liked him."
|
||
|
"Do you now?"
|
||
|
"Of course not -- what footsteps are those I hear?"
|
||
|
Liddy looked from a back window into the courtyard
|
||
|
behind, which was now getting low-toned and dim with
|
||
|
the earliest films of night. A crooked file of men was
|
||
|
approaching the back door. The whole string of trailing
|
||
|
individuals advanced in the completest balance of inten-
|
||
|
tion, like the remarkable creatures known as Chain
|
||
|
Salpae, which, distinctly organized in other respects, have
|
||
|
one will common to a whole family. Some were, as
|
||
|
usual, in snow-white smock-frocks of Russia duck, and
|
||
|
some in whitey-brown ones of drabbet -- marked on the
|
||
|
wrists, breasts, backs, and sleeves with honeycomb-work.
|
||
|
Two or three women in pattens brought up the rear.
|
||
|
"The Philistines be upon us." said Liddy, making her
|
||
|
nose white against the glass.
|
||
|
"Oh, very well. Maryann, go down and keep them
|
||
|
in the kitchen till I am dressed, and then show them in
|
||
|
to me in the hall."
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER X
|
||
|
|
||
|
|
||
|
|
||
|
HALF-AN-HOUR later Bathsheba, in finished dress,
|
||
|
|
||
|
|
||
|
and followed by Liddy, entered the upper end of the old
|
||
|
hall to find that her men had all deposited themselves on
|
||
|
a long form and a settle at the lower extremity. She sat
|
||
|
down at a table and opened the time-book, pen in her
|
||
|
hand, with a canvas money-bag beside her. From this
|
||
|
she poured a small heap of coin. Liddy chose a
|
||
|
position at her elbow and began to sew, sometimes
|
||
|
pausing and looking round, or with the air of a privileged
|
||
|
person, taking up one of the half-sovereigns lying before
|
||
|
her and surveying it merely as a work of art, while
|
||
|
strictly preventing her countenance from expressing any
|
||
|
wish to possess it as money.
|
||
|
"Now before I begin, men." said Bathsheba, "I have
|
||
|
two matters to speak of. The first is that the bailiff is
|
||
|
dismissed for thieving, and that I have formed a resolu-
|
||
|
tion to have no bailiff at all, but to manage everything
|
||
|
with my own head and hands."
|
||
|
The men breathed an audible breath of amazement.
|
||
|
"The next matter is, have you heard anything of
|
||
|
Fanny?"
|
||
|
"Nothing, ma'am.
|
||
|
"Have you done anything?"
|
||
|
"I met Farmer Boldwood." said Jacob Smallbury, 'and
|
||
|
I went with him and two of his men, and dragged New-
|
||
|
mill Pond, but we found nothing."
|
||
|
"And the new shepherd have been to Buck's Head,
|
||
|
by Yalbury, thinking she had gone there, but nobody
|
||
|
had seed her." said Laban Tall.
|
||
|
"Hasn't William Smallbury been to Casterbridge?"
|
||
|
"Yes, ma'am, but he's not yet come home. He
|
||
|
promised to be back by six."
|
||
|
"It wants a quarter to six at present." said Bathsheba,
|
||
|
looking at her watch. "I daresay he'll be in directly.
|
||
|
Well, now then" -- she looked into the book -- "Joseph
|
||
|
Poorgrass, are you there?"
|
||
|
"Yes, sir -- ma'am I mane." said the person addressed.
|
||
|
"I be the personal name of Poorgrass."
|
||
|
"And what are you?"
|
||
|
"Nothing in my own eye. In the eye of other people
|
||
|
-- well, I don't say it; though public thought will out."
|
||
|
"What do you do on the farm?"
|
||
|
"I do do carting things all the year, and in seed time I
|
||
|
shoots the rooks and sparrows, and helps at pig-killing, sir."
|
||
|
"How much to you?"
|
||
|
"Please nine and ninepence and a good halfpenny
|
||
|
where 'twas a bad one, sir -- ma'am I mane."
|
||
|
"Quite correct. Now here are ten shillings in addi-
|
||
|
tion as a small present, as I am a new comer."
|
||
|
Bathsheba blushed slightly at the sense of being
|
||
|
generous in public, and Henery Fray, who had drawn
|
||
|
up towards her chair, lifted his eyebrows and fingers to
|
||
|
express amazement on a small scale.
|
||
|
"How much do I owe you -- that man in the corner --
|
||
|
what's your name?" continued Bathsheba.
|
||
|
"Matthew Moon, ma'am." said a singular framework of
|
||
|
clothes with nothing of any consequence inside them,
|
||
|
which advanced with the toes in no definite direction
|
||
|
forwards, but turned in or out as they chanced to swing.
|
||
|
"Matthew Mark, did you say? -- speak out -- I shall
|
||
|
not hurt you." inquired the young farmer, kindly.
|
||
|
"Matthew Moon mem" said Henery Fray, correct-
|
||
|
ingly, from behind her chair, to which point he had
|
||
|
edged himself.
|
||
|
"Matthew Moon." murmured Bathsheba, turning her
|
||
|
bright eyes to the book. "Ten and twopence halfpenny
|
||
|
is the sum put down to you, I see?"
|
||
|
"Yes, mis'ess." said Matthew, as the rustle of wind
|
||
|
among dead leaves.
|
||
|
"Here it is and ten shillings. Now -the next -- Andrew
|
||
|
Randle, you are a new man, I hear. How come you to
|
||
|
leave your last farm?"
|
||
|
"P-p-p-p-p-pl-pl-pl-pl-l-l-l-l-ease, ma'am, p-p-p-p-pl-pl-
|
||
|
pl-pl-please, ma'am-please'm-please'm -- -- "
|
||
|
"'A's a stammering man, mem." said Henery Fray in
|
||
|
an undertone, "and they turned him away because the
|
||
|
only time he ever did speak plain he said his soul was
|
||
|
his own, and other iniquities, to the squire. "A can cuss,
|
||
|
mem, as well as you or I, but 'a can't speak a common
|
||
|
speech to save his life."
|
||
|
"Andrew Randle, here's yours -- finish thanking me
|
||
|
in a day or two. Temperance Miller -- oh, here's another,
|
||
|
Soberness -- both women I suppose?"
|
||
|
"Yes'm. Here we be, 'a b'lieve." was echoed in shrill
|
||
|
unison.
|
||
|
"What have you been doing?"
|
||
|
"Tending thrashing-machine and wimbling haybonds,
|
||
|
and saying "Hoosh!" to the cocks and hens when they
|
||
|
go upon your seeds and planting Early Flourballs and
|
||
|
Thompson's Wonderfuls with a dibble."
|
||
|
"Yes -- I see. Are they satisfactory women?" she
|
||
|
inquired softly of Henery Fray.
|
||
|
"O mem -- don't ask me! Yielding women?" as
|
||
|
scarlet a pair as ever was!" groaned Henery under his
|
||
|
breath.
|
||
|
"Sit down.
|
||
|
"Who, mem?"
|
||
|
"Sit down,"
|
||
|
Joseph Poorgrass, in the background twitched, and
|
||
|
his lips became dry with fear of some terrible conse-
|
||
|
quences, as he saw Bathsheba summarily speaking, and
|
||
|
Henery slinking off to a corner.
|
||
|
"Now the next. Laban Tall, you'll stay on working
|
||
|
for me?"
|
||
|
"For you or anybody that pays me well, ma'am,"
|
||
|
replied the young married man.
|
||
|
"True -- the man must live!" said a woman in the
|
||
|
back quarter, who had just entered with clicking pattens.
|
||
|
"What woman is that?" Bathsheba asked.
|
||
|
"I be his lawful wife!" continued the voice with
|
||
|
greater prominence of manner and tone. This lady
|
||
|
called herself five-and-twenty, looked thirty, passed as
|
||
|
thirty-five, and was forty. She was a woman who never,
|
||
|
like some newly married, showed conjugal tenderness in
|
||
|
public, perhaps because she had none to show.
|
||
|
"Oh, you are." said Bathsheba. "Well, Laban, will
|
||
|
you stay on?"
|
||
|
"Yes, he'll stay, ma'am!" said again the shrill tongue
|
||
|
of Laban's lawful wife.
|
||
|
"Well, he can speak for himself, I suppose."
|
||
|
"O Lord, not he, ma'am! A simple tool. Well
|
||
|
enough, but a poor gawkhammer mortal." the wife replied
|
||
|
"Heh-heh-heh!" laughed the married man with a
|
||
|
hideous effort of appreciation, for he was as irrepressibly
|
||
|
good-humoured under ghastly snubs as a parliamentary
|
||
|
candidate on the hustings.
|
||
|
The names remaining were called in the same
|
||
|
manner.
|
||
|
"Now I think I have done with you." said Bathsheba,
|
||
|
closing the book and shaking back a stray twine of hair.
|
||
|
"Has William Smallbury returned?"
|
||
|
"No, ma'am."
|
||
|
"The new shepherd will want a man under him,"
|
||
|
suggested Henery Fray, trying to make himself official
|
||
|
again by a sideway approach towards her chair.
|
||
|
"Oh -- he will. Who can he have?"
|
||
|
"Young Cain Ball is a very good lad." Henery said,
|
||
|
"and Shepherd Oak don't mind his youth?" he added,
|
||
|
turning with an apologetic smile to the shepherd, who
|
||
|
had just appeared on the scene, and was now leaning
|
||
|
against the doorpost with his arms folded.
|
||
|
"No, I don't mind that." said Gabriel.
|
||
|
"How did Cain come by such a name?" asked
|
||
|
Bathsheba.
|
||
|
"Oh you see, mem, his pore mother, not being a
|
||
|
Scripture-read woman made a mistake at his christening,
|
||
|
thinking 'twas Abel killed Cain, and called en Cain,
|
||
|
but 'twas too late, for the name could never be got rid
|
||
|
of in the parish. 'Tis very unfortunate for the boy."
|
||
|
"It is rather unfortunate."
|
||
|
"Yes. However, we soften it down as much as we
|
||
|
can, and call him Cainey. Ah, pore widow-woman!
|
||
|
she cried her heart out about it almost. She was
|
||
|
brought up by a very heathen father and mother, who
|
||
|
never sent her to church or school, and it shows how
|
||
|
the sins of the parents are visited upon the children,
|
||
|
mem."
|
||
|
Mr. Fray here drew up his features to the mild degree
|
||
|
of melancholy required when the persons involved in
|
||
|
the given misfortune do not belong to your own family.
|
||
|
"Very well then, Cainey Ball to be under-shepherd
|
||
|
And you quite understand your duties? -- you I mean,
|
||
|
Gabriel Oak?"
|
||
|
"Quite well, I thank you Miss Everdene." said
|
||
|
Shepard Oak from the doorpost. "If I don't, I'll
|
||
|
inquire." Gabriel was rather staggered by the remark-
|
||
|
able coolness of her manner. Certainly nobody without
|
||
|
previous information would have dreamt that Oak and
|
||
|
the handsome woman before whom he stood had ever
|
||
|
been other than strangers. But perhaps her air was
|
||
|
the inevitable result of the social rise which had advanced
|
||
|
her from a cottage to a large house and fields. The
|
||
|
case is not unexampled in high places. When, in the
|
||
|
writings of the later poets, Jove and his family are found
|
||
|
to have moved from their cramped quarters on the peak
|
||
|
of Olympus into the wide sky above it, their words show
|
||
|
a proportionate increase of arrogance and reserve.
|
||
|
Footsteps were heard in the passage, combining in
|
||
|
their character the qualities both of weight and measure,
|
||
|
rather at the expense of velocity.
|
||
|
(All.) "Here's Billy Smallbury come from Caster-
|
||
|
bridge."
|
||
|
"And what's the news?" said Bathsheba, as William,
|
||
|
after marching to the middle of the hall, took a hand-
|
||
|
kerchief from his hat and wiped his forehead from its
|
||
|
centre to its remoter boundaries.
|
||
|
"I should have been sooner, miss." he said, "if it
|
||
|
hadn't been for the weather." He then stamped with
|
||
|
each foot severely, and on looking down his boots were
|
||
|
perceived to be clogged with snow.
|
||
|
"Come at last, is it?" said Henery.
|
||
|
"Well, what about Fanny?" said Bathsheba.
|
||
|
"Well, ma'am, in round numbers, she's run away with
|
||
|
the soldiers." said William.
|
||
|
"No; not a steady girl like Fanny!"
|
||
|
"I'll tell ye all particulars. When I got to Caster,
|
||
|
bridge Barracks, they said, " The Eleventh Dragoon-
|
||
|
Guards be gone away, and new troops have come."
|
||
|
The Eleventh left last week for Melchester and onwards.
|
||
|
The Route came from Government like a thief in the
|
||
|
night, as is his nature to, and afore the Eleventh knew
|
||
|
it almost, they were on the march. They passed near
|
||
|
here."
|
||
|
Gabriel had listened with interest. "I saw them go,"
|
||
|
he said.
|
||
|
"Yes." continued William," they pranced down the
|
||
|
street playing "The Girl I Left Behind Me." so 'tis
|
||
|
said, in glorious notes of triumph. Every looker-on's
|
||
|
inside shook with the blows of the great drum to his
|
||
|
deepest vitals, and there was not a dry eye throughout
|
||
|
the town among the public-house people and the name-
|
||
|
less women!"
|
||
|
"But they're not gone to any war?"
|
||
|
"No, ma'am; but they be gone to take the places
|
||
|
of them who may, which is very close connected. And
|
||
|
so I said to myself, Fanny's young man was one of the
|
||
|
regiment, and she's gone after him. There, ma'am,
|
||
|
that's it in black and white."
|
||
|
Gabriel remained musing and said nothing, for he
|
||
|
was in doubt.
|
||
|
"Well, we are not likely to know more to-night, at
|
||
|
any rate." said Bathsheba. "But one of you had better
|
||
|
run across to Farmer Boldwood's and tell him that
|
||
|
much."
|
||
|
She then rose; but before retiring, addressed a few
|
||
|
words to them with a pretty dignity, to which her
|
||
|
mourning dress added a soberness that was hardly to
|
||
|
be found in the words themselves.
|
||
|
"Now mind, you have a mistress instead of a master
|
||
|
I don't yet know my powers or my talents in farming;
|
||
|
but I shall do my best, and if you serve me well, so
|
||
|
shall I serve you. Don't any unfair ones among you
|
||
|
(if there are any such, but I hope not) suppose that
|
||
|
because I'm a woman I don't understand the difference
|
||
|
between bad goings-on and good."
|
||
|
(All.) "Nom!"
|
||
|
(Liddy.) "Excellent well said."
|
||
|
"I shall be up before you are awake; I shall be
|
||
|
afield before you are up; and I shall have breakfasted
|
||
|
before you are afield. In short, I shall astonish you all.
|
||
|
(All.) "Yes'm!"
|
||
|
"And so good-night."
|
||
|
(All.) "Good-night, ma'am."
|
||
|
Then this small-thesmothete stepped from the table,
|
||
|
and surged out of the hall, her black silk dress licking
|
||
|
up a few straws and dragging them along with a scratch-
|
||
|
ing noise upon the floor. biddy, elevating her feelings
|
||
|
to the occasion from a sense of grandeur, floated off
|
||
|
behind Bathsheba with a milder dignity not entirely
|
||
|
free from travesty, and the door was closed.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XI
|
||
|
|
||
|
|
||
|
|
||
|
OUTSIDE THE BARRACKS -- SNOW -- A MEETING
|
||
|
|
||
|
|
||
|
FOR dreariness nothing could surpass a prospect in the
|
||
|
outskirts of a certain town and military station, many
|
||
|
miles north of Weatherbury, at a later hour on this
|
||
|
same snowy evening -- if that may be called a prospect
|
||
|
of which the chief constituent was darkness.
|
||
|
It was a night when sorrow may come to the
|
||
|
brightest without causing any great sense of incongruity:
|
||
|
when, with impressible persons, love becomes solicitous-
|
||
|
ness, hope sinks to misgiving, and faith to hope: when
|
||
|
the exercise of memory does not stir feelings of regret
|
||
|
at opportunities for ambition that have been passed by,
|
||
|
and anticipation does not prompt to enterprise.
|
||
|
The scene was a public path, bordered on the left
|
||
|
hand by a river, behind which rose a high wall. On
|
||
|
the right was a tract of land, partly meadow'and partly
|
||
|
moor, reaching, at its remote verge, to a wide undulating
|
||
|
uplan.
|
||
|
The changes of the seasons are less obtrusive on
|
||
|
spots of this kind than amid woodland scenery. Still,
|
||
|
to a close observer, they are just as perceptible; the
|
||
|
difference is that their media of manifestation are less
|
||
|
trite and familiar than such well-known ones as the
|
||
|
bursting of the buds or the fall of the leaf. Many are
|
||
|
not so stealthy and gradual as we may be apt to
|
||
|
imagine in considering the general torpidity of a moor
|
||
|
or waste. Winter, in coming to the country hereabout,
|
||
|
advanced in well-marked stages, wherein might have
|
||
|
been successively observed the retreat of the snakes,
|
||
|
the transformation of the ferns, the filling of the pools,
|
||
|
a rising of fogs, the embrowning by frost, the collapse
|
||
|
of the fungi, and an obliteration by snow.
|
||
|
This climax of the series had been reached to-night on
|
||
|
the aforesaid moor, and for the first time in the season
|
||
|
its irregularities were forms without features; suggestive
|
||
|
of anything, proclaiming nothing, and without more
|
||
|
character than that of being the limit of something
|
||
|
else -- the lowest layer of a firmament of snow. From
|
||
|
this chaotic skyful of crowding flakes the mead and
|
||
|
moor momentarily received additional clothing, only
|
||
|
to appear momentarily more naked thereby. The vast
|
||
|
arch of cloud above was strangely low, and formed as
|
||
|
it were the roof of a large dark cavern, gradually sinking
|
||
|
in upon its floor; for the instinctive thought was that
|
||
|
the snow lining the heavens and that encrusting the
|
||
|
earth would soon unite into one mass without any
|
||
|
intervening stratum of air at all.
|
||
|
We turn our attention to the left-hand characteristics;
|
||
|
which were flatness in respect of the river, verticality
|
||
|
in respect of the wall behind it, and darkness as to
|
||
|
both. These features made up the mass. If anything
|
||
|
could be darker than the sky, it was the wall, and if any
|
||
|
thing could be gloomier than the wall it was the river
|
||
|
beneath. The indistinct summit of the facade was
|
||
|
notched and pronged by chimneys here and there, and
|
||
|
upon its face were faintly signified the oblong shapes
|
||
|
of windows, though only in the upper part. Below,
|
||
|
down to the water's edge, the flat was unbroken by
|
||
|
hole or projection.
|
||
|
An indescribable succession of dull blows, perplexing
|
||
|
in their regularity, sent their sound- with difficulty
|
||
|
through the fluffy atmosphere. It was a neighbouring
|
||
|
clock striking ten The bell was in the open air, and
|
||
|
being overlaid with several inches of muffling snow, had
|
||
|
lost its voice for the time.
|
||
|
About this hour the snow abated: ten flakes fell
|
||
|
where twenty had fallen, then one had the room of
|
||
|
ten. Not long after a form moved by the brink of
|
||
|
the river.
|
||
|
By its outline upon the colourless background, a close
|
||
|
observer might have seen that it was small. This was
|
||
|
all that was positively discoverable, though it seemed
|
||
|
human.
|
||
|
The shape went slowly along, but without much
|
||
|
exertion, for the snow, though sudden, was not as yet
|
||
|
more than two inches deep. At this time some words
|
||
|
were spoken aloud: --
|
||
|
"One. Two. Three. Four. Five."
|
||
|
Between each utterance the little shape advanced
|
||
|
about half a dozen yards. It was evident now that
|
||
|
the windows high in the wall were being counted.
|
||
|
The word "Five" represented the fifth window from
|
||
|
the end of the wall.
|
||
|
Here the spot stopped, and dwindled smaller. The
|
||
|
figure was stooping. Then a morsel of snow flew
|
||
|
across the river towards the fifth window. It smacked
|
||
|
against the wall at a point several yards from its mark.
|
||
|
The throw was the idea of a man conjoined with the
|
||
|
execution of a woman. No man who had ever seen bird,
|
||
|
rabbit, or squirrel in his childhood, could possibly have
|
||
|
thrown with such utter imbecility as was shown here.
|
||
|
Another attempt, and another; till by degrees the
|
||
|
wall must have become pimpled with the adhering
|
||
|
lumps of snow At last one fragment struck the fifth
|
||
|
window.
|
||
|
The river would have been; seen by day to be of
|
||
|
that deep smooth sort which races middle and sides
|
||
|
with the same gliding precision, any irregularities of
|
||
|
speed being immediately corrected by a small whirl-
|
||
|
pool. Nothing was heard in reply to the signal but
|
||
|
the gurgle and cluck of one of these invisible wheels --
|
||
|
together with a few small sounds which a sad man
|
||
|
would have called moans, and a happy man laughter --
|
||
|
caused by the flapping of the waters against trifling
|
||
|
objects in other parts of the stream.
|
||
|
The window was struck again in the same manner.
|
||
|
Then a noise was heard, apparently produced by
|
||
|
the opening of the window. This was followed by a
|
||
|
voice from the same quarter.
|
||
|
"Who's there?"
|
||
|
The tones were masculine, and not those of surprise.
|
||
|
The high wall being that of a barrack, and marriage
|
||
|
being looked upon with disfavour in the army, assigna-
|
||
|
tions and communications had probably been made
|
||
|
across the river before tonight.
|
||
|
"Is it Sergeant Troy?" said the blurred spot in the
|
||
|
snow, tremulously.
|
||
|
This person was so much like a mere shade upon
|
||
|
the earth, and the other speaker so much a part of
|
||
|
the building, that one would have said the wall was
|
||
|
holding a conversation with the snow.
|
||
|
"Yes." came suspiciously from the shadow." What
|
||
|
girl are you?"
|
||
|
"O, Frank -- don't you know me?" said the spot.
|
||
|
"Your wife, Fanny Robin."
|
||
|
"Fanny!" said the wall, in utter astonishment.
|
||
|
"Yes." said the girl, with a half-suppressed gasp of
|
||
|
emotion.
|
||
|
There was something in the woman's tone which is
|
||
|
not that of the wife, and there was a mannerin the man
|
||
|
which is rarely a husband's. The dialogue went on:
|
||
|
"How did you come here?"
|
||
|
"I asked which was your window. Forgive me!"
|
||
|
"I did not expect you to-night. Indeed, I did not
|
||
|
think you would come at all. It was a wonder you
|
||
|
found me here. I am orderly to-morrow."
|
||
|
"You said I was to come."
|
||
|
"Well -- I said that you might."
|
||
|
"Yes, I mean that I might. You are glad to see me,
|
||
|
Frank?"
|
||
|
"O yes -- of course."
|
||
|
"Can you -- come to me!"
|
||
|
My dear Fan, no! The bugle has sounded, the
|
||
|
barrack gates are closed, and I have no leave. We are
|
||
|
all of us as good as in the county gaol till to-morrow
|
||
|
morning."
|
||
|
"Then I shan't see you till then!" The words- were
|
||
|
in a faltering tone of disappointment.
|
||
|
"How did you get here from Weatherbury?"
|
||
|
"I walked -- some part of the way -- the rest by the
|
||
|
carriers."
|
||
|
"I am surprised."
|
||
|
"Yes -- so am I. And Frank, when will it be?"
|
||
|
"What?"
|
||
|
"That you promised."
|
||
|
"I don't quite recollect."
|
||
|
"O You do! Don't speak like that. It weighs me
|
||
|
to the earth. It makes me say what ought to be said
|
||
|
first by you."
|
||
|
"Never mind -- say it."
|
||
|
"O, must I? -- it is, when shall we be married,
|
||
|
Frank?"
|
||
|
"Oh, I " see. Well -- you have to get proper
|
||
|
clothes."
|
||
|
"I have money. Will it be by banns or license?"
|
||
|
"Banns, I should think."
|
||
|
"And we live in two parishes."
|
||
|
"Do we? What then?"
|
||
|
"My lodgings are in St. Mary's, and this is not. So
|
||
|
they will have to be published in both."
|
||
|
"Is that the law?"
|
||
|
"Yes. O Frank -- you think me forward, I am
|
||
|
afraid! Don't, dear Frank -- will you -- for I love you so.
|
||
|
And you said lots of times you would marry me, and
|
||
|
and -- I -- I -- I -- -- "
|
||
|
"Don't cry, now! It is foolish. If i said so, of
|
||
|
course I will."
|
||
|
"And shall I put up the banns in my parish, and will
|
||
|
you in yours?"
|
||
|
"Yes"
|
||
|
"To-morrow?"
|
||
|
"Not tomorrow. We'll settle in a few days."
|
||
|
"You have the permission of the officers?"
|
||
|
"No, not yet."
|
||
|
"O -- how is it? You said you almost had before
|
||
|
you left Casterbridge."
|
||
|
"The fact is, I forgot to ask. Your coming like this
|
||
|
I'll go away now. Will you **qoDe,and seq be to-morroy
|
||
|
is so sudden and unexpected."
|
||
|
"Yes -- yes -- it is. It was wrong of me to worry you.
|
||
|
I'll go away now. Will you come and see me to-morrow,
|
||
|
at Mrs. Twills's, in North Street? I don't like to come
|
||
|
to the Barracks. There are bad women about, and they
|
||
|
think me one."
|
||
|
"Quite,so. I'll come to you, my dean Good-night."
|
||
|
"Good-night, Frank -- good-night!"
|
||
|
And the noise was again heard of a window closing
|
||
|
The little spot moved away. When she passed the
|
||
|
corner a subdued exclamation was heard inside the
|
||
|
wall.
|
||
|
"Ho -- ho -- Sergeant -- ho -- ho!" An expostulation
|
||
|
followed, but it was indistinct; and it became lost amid
|
||
|
a low peal of laughter, which was hardly distinguishable
|
||
|
from the gurgle of the tiny whirlpools outside.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XII
|
||
|
|
||
|
|
||
|
|
||
|
FARMERS -- A RULE -- IN EXCEPTION
|
||
|
|
||
|
|
||
|
THE first public evidence of Bathsheba's decision to
|
||
|
be a farmer in her own person and by proxy no more
|
||
|
was her appearance the following market-day in. the
|
||
|
cornmarket at Casterbridge.
|
||
|
The low though extensive hall, supported by beams
|
||
|
and pillars, and latterly dignified by-the name of Corn Ex-
|
||
|
change, was thronged with hot men who talked among
|
||
|
each other in twos and threes, the speaker of the minute
|
||
|
looking sideways into his auditor's face and concentrating
|
||
|
his argument by a contraction of one eyelid during de-
|
||
|
livery. The greater number carried in their hands
|
||
|
ground-ash saplings, using them partly as walking-sticks
|
||
|
and partly for poking up pigs, sheep, neighbours with
|
||
|
their backs turned, and restful things in general, which
|
||
|
seemed to require such treatment in the course of their
|
||
|
peregrinations. During conversations each subjected
|
||
|
his sapling to great varieties of usage -- bending it round
|
||
|
his back, forming an"arch of it between his two hands,
|
||
|
overweighting it on the ground till it reached nearly a
|
||
|
semicircle; or perhaps it was hastily tucked under the
|
||
|
arm whilst the sample-bag was pulled forth and a hand-
|
||
|
ful of corn poured into the palm, which, after criticism,
|
||
|
was flung upon the floor, an issue of events perfectly
|
||
|
well known to half-a-dozen acute town-bred fowls which
|
||
|
had as usual crept into the building unobserved, and
|
||
|
waited the fulfilment of their anticipations with a high-
|
||
|
stretched neck and oblique eye.
|
||
|
Among these heavy yeomen a feminine figure glided,
|
||
|
the single one of her sex that the room contained. She
|
||
|
was prettily and even daintily dressed. She moved
|
||
|
between them as a chaise between carts, was heard after
|
||
|
them as a romance after sermons, was felt among them
|
||
|
like a breeze among furnaces. It had required a little
|
||
|
determination -- far more than she had at first imagined
|
||
|
-- to take up a position here, for at her first entry the
|
||
|
lumbering dialogues had ceased, nearly every face had
|
||
|
been turned towards her, and those that were already
|
||
|
turned rigidly fixed there.
|
||
|
Two or three only of the farmers were personally
|
||
|
known to Bathsheba, and to these she had made her
|
||
|
way. But if she was to be the practical woman she had
|
||
|
intended to show herself, business must be carried on,
|
||
|
introductions or none, and she ultimately acquired con-
|
||
|
fidence enough to speak and reply boldly to men merely
|
||
|
known to her by hearsay. Bathsheba too had her
|
||
|
sample-bags, and by degrees adopted the professional
|
||
|
pour into the hand -- holding up the grains in her narrow
|
||
|
palm for inspection, in perfect Casterbridge manner.
|
||
|
Something in the exact arch of her upper unbroken
|
||
|
row of teeth, and in the keenly pointed corners of her
|
||
|
red mouth when, with parted lips, she somewhat
|
||
|
defiantly turned up her face to argue a point with a
|
||
|
tall man, suggested that there was potentiality enough
|
||
|
in that lithe slip of humanity for alarming exploits of
|
||
|
sex, and daring enough to carry them out. But her eyes
|
||
|
had a softness -- invariably a softness -- which, had they
|
||
|
not been dark, would have seemed mistiness; as they
|
||
|
were, it lowered an expression that might have been
|
||
|
piercing to simple clearness,
|
||
|
Strange to say of a woman in full bloom and vigor,
|
||
|
she always allowed her interlocutors to finish their state-
|
||
|
ments before rejoining with hers. In arguing on prices,
|
||
|
he held to her own firmly, as was natural in a dealer,
|
||
|
and reduced theirs persistently, as was inevitable in a
|
||
|
oman. But there was an elasticity in her firmness
|
||
|
which removed it from obstinacy, as there was a naivete
|
||
|
in her cheapening which saved it from meanness.
|
||
|
Those of the farmers with whom she had no dealings
|
||
|
by far the greater part) were continually asking each
|
||
|
other, "Who is she?" The reply would be --
|
||
|
"Farmer Everdene's niece; took on Weatherbury
|
||
|
Upper Farm; turned away the baily, and swears she'll do
|
||
|
everything herself."
|
||
|
The other man would then shake his head.
|
||
|
"Yes, 'tis a pity she's so headstrong." the first would
|
||
|
say. "But we ought to be proud of her here -- she
|
||
|
lightens up the old place. 'Tis such a shapely maid,
|
||
|
however, that she'll soon get picked up."
|
||
|
It would be ungallant to suggest that the novelty of
|
||
|
her engagement in such an occupation had almost as
|
||
|
much to do with the magnetism as had the beauty of
|
||
|
her face and movements. However, the interest was
|
||
|
general, and this Saturday's debut in the forum, whatever
|
||
|
it may have been to Bathsheba as the buying and selling
|
||
|
farmer, was unquestionably a triumph to her as the
|
||
|
maiden. Indeed, the sensation was so pronounced that
|
||
|
her instinct on two or three occasions was merely to
|
||
|
walk as a queen among these gods of the fallow, like a
|
||
|
little sister of a little Jove, and to neglect closing prices
|
||
|
altogether.
|
||
|
The numerous evidences of-her power to attract were
|
||
|
only thrown into greater relief by a marked exception.
|
||
|
Women seem to have eyes in their ribbons for such
|
||
|
matters as these. Bathsheba, without looking within
|
||
|
a right angle of him, was conscious of a black sheep
|
||
|
among the flock.
|
||
|
It perplexed her first. If there had been a respect-
|
||
|
able minority on either side, the case would have been
|
||
|
most natural. If nobody had regarded her, she would
|
||
|
have -- taken the matter indifferently -- such cases had
|
||
|
occurred. If everybody, this man included, she would
|
||
|
have taken it as a matter of course -- people had done
|
||
|
so before. But the smallness of the exception made the
|
||
|
mystery.
|
||
|
She soon knew thus much of the recusant's appear-
|
||
|
ance. He was a gentlemanly man, with full and
|
||
|
distinctly outlined Roman features, the prominences
|
||
|
of which glowed in the sun with a bronze-like richness
|
||
|
of tone. He was erect in attitude, and quiet in
|
||
|
demeanour. One characteristic pre-eminently marked
|
||
|
him -- dignity.
|
||
|
Apparently he had some time ago reached that
|
||
|
entrance to middle age at which a man's aspect naturally
|
||
|
ceases to alter for the term of a dozen years or so; and,
|
||
|
artificially, a woman't does likewise. Thirty-five and
|
||
|
fifty were his limits of variation -- he might have been
|
||
|
either, or anywhere between the two.
|
||
|
It may be said that married men of forty are usually
|
||
|
ready and generous enough to fling passing glances at
|
||
|
any specimen of moderate beauty they may discern by
|
||
|
the way. Probably, as with persons playing whist for
|
||
|
love, the consciousness of a certain immunity under
|
||
|
any circumstances from that worst possible ultimate,
|
||
|
the having to pay, makes them unduly speculative.
|
||
|
Bathsheba was convinced that this unmoved person
|
||
|
was not a married man.
|
||
|
When marketing was over, she rushed off to Liddy,
|
||
|
who was waiting for her -- beside the yellowing in which
|
||
|
they had driven to town. The horse was put in, and
|
||
|
on they trotted Bathsheba's sugar, tea, and drapery
|
||
|
parcels being packed behind, and expressing in some
|
||
|
indescribable manner, by their colour, shape, and
|
||
|
general lineaments, that they were that young lady-
|
||
|
farmer's property, and the grocer's and drapers no
|
||
|
more.
|
||
|
"I've been through it, Liddy, and it is over. I shan't
|
||
|
mind it again, for they will all have grown accustomed
|
||
|
to seeing me there; but this morning it was as bad as
|
||
|
being married -- eyes everywhere!"
|
||
|
"I knowed it would. be." Liddy said "Men be such
|
||
|
a terrible class of society to look at a body."
|
||
|
"But there was one man who had more sense than
|
||
|
to waste his time upon me." The information was put
|
||
|
in this form that Liddy might not for a moment suppose
|
||
|
her mistress was at all piqued. "A very good-looking
|
||
|
man." she continued, "upright; about forty, I should
|
||
|
think. Do you know at all who he could be?"
|
||
|
Liddy couldn't think.
|
||
|
"Can't you guess at all?" said Bathsheba with some
|
||
|
disappointment.
|
||
|
"I haven't a notion; besides, 'tis no difference, since
|
||
|
he took less notice of you than any of the rest. Now,
|
||
|
if he'd taken more, it would have mattered a great deal."
|
||
|
Bathsheba was suffering from the reverse feeling just
|
||
|
then, and they bowled along in silence. A low carriage,
|
||
|
bowling along still more rapidly behind a horse of un-
|
||
|
impeachable breed, overtook and passed them.
|
||
|
"Why, there he is!" she said.
|
||
|
Liddy looked. "That! That's Farmer Boldwood --
|
||
|
of course 'tis -- the man you couldn't see the other day
|
||
|
when he called."
|
||
|
"Oh, Farmer Boldwood." murmured Bathsheba, and
|
||
|
looked at him as he outstripped them. The farmer had
|
||
|
never turned his head once, but with eyes fixed on the
|
||
|
most advanced point along the road, passed as uncon-
|
||
|
sciously and abstractedly as if Bathsheba and her charms
|
||
|
were thin air.
|
||
|
"He's an interesting man -- don't you think so?" she
|
||
|
remarked.
|
||
|
"O yes, very. Everybody owns it." replied Liddy.
|
||
|
"I wonder why he is so wrapt up and indifferent, and
|
||
|
seemingly so far away from all he sees around him,"
|
||
|
"It is said -- but not known for certain -- that he met
|
||
|
with some bitter disappointment when he was a young
|
||
|
man and merry. A woman jilted him, they say."
|
||
|
"People always say that -- and we know very well
|
||
|
women scarcely ever jilt men; 'tis the men who jilt us.
|
||
|
I expect it is simply his nature to be so reserved."
|
||
|
"Simply his nature -- I expect so, miss -- nothing else
|
||
|
in the world."
|
||
|
"Still, 'tis more romantic to think he has been served
|
||
|
cruelly, poor thing'! Perhaps, after all, he has! I
|
||
|
"Depend upon it he has. O yes, miss, he has!
|
||
|
feel he must have."
|
||
|
"However, we are very apt to think extremes of
|
||
|
people. I -- shouldn't wonder after all if it wasn't a
|
||
|
little of both -- just between the two -- rather cruelly
|
||
|
used and rather reserved."
|
||
|
"O dear no, miss -- I can't think it between the
|
||
|
two!"
|
||
|
"That's most likely."
|
||
|
"Well, yes, so it is. I am convinced it is most likely.
|
||
|
You may -- take my word, miss, that that's what's the
|
||
|
matter with him."
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XIII
|
||
|
|
||
|
|
||
|
|
||
|
SORTES SANCTORUM -- THE VALENTINE
|
||
|
|
||
|
|
||
|
IT was Sunday afternoon in the farmhouse, on the
|
||
|
thirteenth of February. Dinner being over, Bathsheba,
|
||
|
for want of a better companion, had asked Liddy to
|
||
|
come and sit with her. The mouldy pile was dreary
|
||
|
in winter-time before the candles were lighted and the
|
||
|
shutters closed; the atmosphere of the place seemed
|
||
|
as old as the walls; every nook behind the furniture
|
||
|
had a temperature of its own, for the fire was not
|
||
|
kindled in this part of the house early in the day;
|
||
|
and Bathsheba's new piano, which was an old one
|
||
|
in other annals, looked particularly sloping and out
|
||
|
of level on the warped floor before night threw a
|
||
|
shade over its less prominent angles and hid the
|
||
|
unpleasantness. Liddy, like a little brook, though
|
||
|
shallow, was always rippling; her presence had not so
|
||
|
much weight as to task thought, and yet enough to
|
||
|
exercise it.
|
||
|
On the table lay an old quarto Bible, bound in
|
||
|
leather. Liddy looking at it said, --
|
||
|
"Did you ever find out, miss, who you are going to
|
||
|
marry by means of the Bible and key?,
|
||
|
"Don't be so foolish, Liddy. As if such things
|
||
|
could be."
|
||
|
"Well, there's a good deal in it, all the same."
|
||
|
"Nonsense, child."
|
||
|
"And it makes your heart beat fearful. Some believe
|
||
|
in it; some don't; I do."
|
||
|
"Very well, let's try it." said Bathsheba, bounding
|
||
|
from her seat with that total disregard of consistency
|
||
|
which can be indulged in towards a dependent, and
|
||
|
entering into the spirit of divination at once. "Go and
|
||
|
get the front door key."
|
||
|
Liddy fetched it. "I wish it wasn't Sunday." she
|
||
|
said, on returning." Perhaps 'tis wrong."
|
||
|
"What's right week days is right Sundays." replied her
|
||
|
mistress in a tone which was a proof in itself.
|
||
|
The book was opened -- the leaves, drab with age,
|
||
|
being quite worn away at much-read verses by the fore"
|
||
|
fingers "of unpractised readers in former days, where they
|
||
|
were moved along under the line as an aid to the vision.
|
||
|
The special verse in the Book of Ruth was sought out
|
||
|
by Bathsheba, and the sublime words met her eye. They
|
||
|
slightly thrilled and abashed her. It was Wisdom in
|
||
|
the abstract facing Folly in the concrete. Folly in the
|
||
|
concrete blushed, persisted in her intention, and placed
|
||
|
the key on -the book. A rusty patch immediately upon
|
||
|
the verse, caused by previous pressure of an iron
|
||
|
substance thereon, told that this was not the first time
|
||
|
the old volume had been used for the purpose.
|
||
|
"Now keep steady, and be silent." said Bathsheba.
|
||
|
The 'verse was repeated; the book turned round;
|
||
|
Bathsheba blushed guiltily.
|
||
|
"Who did you try?" said Liddy curiously.
|
||
|
"I shall not tell you."
|
||
|
"Did you notice Mr. Boldwood's doings in church
|
||
|
this morning, miss?"Liddy continued, adumbrating by
|
||
|
the remark the track her thoughts had taken.
|
||
|
"No, indeed." said Bathsheba, with serene indifference
|
||
|
"His pew is exactly opposite yours, miss."
|
||
|
"I know it."
|
||
|
"And you did not see his goings on!,"
|
||
|
Certainly I did not, I tell you."
|
||
|
Liddy assumed a smaller physiognomy, and shut
|
||
|
her lips decisively.
|
||
|
This move was unexpected, and proportionately dis
|
||
|
concerting. "What did he do?" Bathsheba said perforce.
|
||
|
"Didn't turn his head to look at you once all the
|
||
|
service.
|
||
|
"Why should he?" again demanded her mistress,
|
||
|
wearing a nettled look. "I didn't ask him to.
|
||
|
"Oh no. But everybody else was noticing you; and
|
||
|
it was odd he didn't. There, 'tis like him. Rich and
|
||
|
gentlemanly, what does he care?"
|
||
|
Bathsheba dropped into a silence intended to ex-
|
||
|
press that she had opinions on the matter too abstruse
|
||
|
for Liddy's comprehension, rather than that she had
|
||
|
nothing to say.
|
||
|
"Dear me -- I had nearly forgotten the valentine
|
||
|
I bought yesterday." she exclaimed at length.
|
||
|
"Valentine! who for, miss?" said Liddy. "Farmer
|
||
|
Boldwood?"
|
||
|
It was the single name among all possible wrong
|
||
|
ones that just at this moment seemed to Bathsheba
|
||
|
more pertinent than the right.
|
||
|
"Well, no. It is only for little Teddy Coggan.
|
||
|
have promised him something, and this will be a pretty
|
||
|
surprise for him. Liddy, you may as well bring me
|
||
|
my desk and I'll direct it at once."
|
||
|
Bathsheba took from her desk a gorgeously illumin-
|
||
|
ated and embossed design in post-octavo, which had
|
||
|
been "bought on the previous market-day at the chief
|
||
|
stationer's in Casterbridge. In the centre was a small
|
||
|
oval enclosure; this was left blank, that the sender
|
||
|
might insert tender words more appropriate to the
|
||
|
special occasion than any generalities by a printer
|
||
|
could possibly be.
|
||
|
"Here's a place for writing." said Bathsheba. "What
|
||
|
shall I put?"
|
||
|
"Something of this sort, I should think', returned
|
||
|
Liddy promptly: --
|
||
|
"The rose is red,
|
||
|
The violet blue,
|
||
|
Carnation's sweet,
|
||
|
And so are you."
|
||
|
"Yes, that shall be it. It just suits itself to a chubby-
|
||
|
faced child like him." said Bathsheba. She inserted the
|
||
|
words in a small though legible handwriting; enclosed
|
||
|
the sheet in an envelope, and dipped her pen for the
|
||
|
direction.
|
||
|
"What fun it would be to send it to the stupid old
|
||
|
Boldwood, and how he would wonder!" said the
|
||
|
irrepressible Liddy, lifting her eyebrows, and indulging
|
||
|
in an awful mirth on the verge of fear as she thought
|
||
|
of the moral and social magnitude of the man contem-
|
||
|
plated.
|
||
|
Bathsheba paused to regard the idea at full length.
|
||
|
Boldwood's had begun to be a troublesome image -- a
|
||
|
species of Daniel in her kingdom who persisted in
|
||
|
kneeling eastward when reason and common sense
|
||
|
said that he might just as well follow suit with the
|
||
|
rest, and afford her the official glance of admiration
|
||
|
which cost nothing at all. She was far from being
|
||
|
seriously concerned about his nonconformity. Still,
|
||
|
it was faintly depressing that the most dignified and
|
||
|
valuable man in the parish should withhold his eyes,
|
||
|
and that a girl like Liddy should talk about it. So
|
||
|
Liddy's idea was at first rather harassing than piquant.
|
||
|
"No, I won't do that. He wouldn't see any humour
|
||
|
in it."
|
||
|
"He'd worry to death." said the persistent Liddy.
|
||
|
"Really, I don't care particularly to send it to
|
||
|
Teddy." remarked her mistress. "He's rather a naughty
|
||
|
child sometimes."
|
||
|
"Yes -- that he is."
|
||
|
"Let's toss as men do." said Bathsheba, idly. "Now
|
||
|
then, head, Boldwood; tail, Teddy. No, we won't toss
|
||
|
money on a Sunday that would be tempting the devil
|
||
|
indeed."
|
||
|
"Toss this hymn-book; there can't be no sinfulness
|
||
|
in that, miss."
|
||
|
"Very well. Open, Boldwood -- shut, Teddy. No;
|
||
|
it's more likely to fall open. Open, Teddy -- shut,
|
||
|
Boldwood."
|
||
|
The book went fluttering in the air and came down shut.
|
||
|
Bathsheba, a small yawn upon her mouth, took the
|
||
|
pen, and with off-hand serenity directed the missive to
|
||
|
Boldwood.
|
||
|
"Now light a candle, Liddy. Which seal shall we
|
||
|
use? Here's a unicorn's head -- there's nothing in
|
||
|
that. What's this? -- two doves -- no. It ought to be
|
||
|
something extraordinary, ought it not, Liddy? Here's
|
||
|
one with a motto -- I remember it is some funny one,
|
||
|
but I can't read it. We'll try this, and if it doesn't
|
||
|
do we'll have another."
|
||
|
A large red seal was duly affixed. Bathsheba looked
|
||
|
closely at the hot wax to discover the words.
|
||
|
"Capital!" she exclaimed, throwing down the letter
|
||
|
frolicsomely. "'Twould upset the solemnity of a parson
|
||
|
The same evening the letter was sent, and was duly
|
||
|
returned to Weatherbury again in the morning.
|
||
|
Of love as a spectacle Bathsheba had a fair knowledge;
|
||
|
but of love subjectively she knew nothing.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XIV
|
||
|
|
||
|
|
||
|
|
||
|
EFFECT OF THE LETTER -- SUNRISE
|
||
|
|
||
|
|
||
|
AT dusk, on the evening of St. Valentine's Day, Bold-
|
||
|
wood sat down to supper as usual, by a beaming fire
|
||
|
of aged logs. Upon the mantel-shelf before him was
|
||
|
a time-piece, surmounted by a spread eagle, and upon
|
||
|
the eagle's wings was the letter Bathsheba had sent.
|
||
|
Here the bachelor's gaze was continually fastening
|
||
|
itself, till the large red seal became as a blot of blood
|
||
|
on the retina of his eye; and as he ate and drank he
|
||
|
still read in fancy the words thereon, although they
|
||
|
were too remote for his sight --
|
||
|
"MARRY ME."
|
||
|
The pert injunction was like those crystal substances
|
||
|
which, colourless themselves, assume the tone of objects
|
||
|
about them. Here, in the quiet of Boldwood's parlour,
|
||
|
where everything that ,was not grave was extraneous,
|
||
|
and where the atmosphere was that of a Puritan Sunday
|
||
|
lasting all the week, the letter and its dictum changed"
|
||
|
their tenor from the thoughtlessness of their origin to
|
||
|
a deep solemnity, imbibed from their accessories
|
||
|
now.
|
||
|
Since the receipt of the missive in the morning,
|
||
|
Boldwood had felt the symmetry of his existence to
|
||
|
be slowly getting distorted in the direction of an ideal
|
||
|
passion. The disturbance was as the first floating
|
||
|
weed to Columbus -- the eontemptibly little suggesting
|
||
|
possibilities of the infinitely great.
|
||
|
The letter must have had an origin and a motive.
|
||
|
That the latter was of the smallest magnitude com-
|
||
|
patible with its existence at all, Boldwood, of course,
|
||
|
did not know. And such an explanation did not
|
||
|
strike him as a possibility even. It is foreign to a
|
||
|
mystified condition of mind to realize of the mystifier
|
||
|
that the processes of approving a course suggested by
|
||
|
circumstance, and of striking out a course from inner
|
||
|
impulse, would look the same in the result. The vast
|
||
|
difference between starting a train of events, and direct-
|
||
|
ing into a particular groove a series already started, is
|
||
|
rarely apparent to the person confounded by the
|
||
|
issue.
|
||
|
When Boldwood went to bed he placed the valen-
|
||
|
tine in the corner of the looking-glass. He was
|
||
|
conscious of its presence, even when his back was
|
||
|
turned upon it. It was the first time in Boldwood's
|
||
|
life that such an event had occurred. The same
|
||
|
fascination that caused him to think it an act which had
|
||
|
a deliberate motive prevented him from regarding it as
|
||
|
an impertinence. He looked again at the direction.
|
||
|
The mysterious influences of night invested the writing
|
||
|
with the presence of the unknown writer. Somebody's
|
||
|
some woman's -- hand had travelled softly over the
|
||
|
paper bearing his name; her unrevealed eyes had
|
||
|
watched every curve as she formed it; her brain had
|
||
|
seen him in imagination the while. Why should
|
||
|
she have imagined him? Her mouth -- were the lips
|
||
|
red or pale, plump or creased? -- had curved itself to a
|
||
|
certain expression as the pen went on -- the corners had
|
||
|
moved with all their natural tremulousness: what had
|
||
|
been the expression?
|
||
|
The vision of the woman writing, as a supplement to
|
||
|
the words written, had no individuality. She was a
|
||
|
misty shape, and well she might be, considering that
|
||
|
her original was at that moment sound asleep and
|
||
|
oblivious of all love and letter-writing under the sky.
|
||
|
Whenever Boldwood dozed she took a form, and com-
|
||
|
paratively ceased to be a vision: when he awoke there
|
||
|
was the letter justifying the dream.
|
||
|
The moon shone to-night, and its light was not of
|
||
|
a customary kind. His window admitted only a
|
||
|
reflection of its rays, and the pale sheen had that
|
||
|
reversed direction which snow gives, coming upward
|
||
|
and lighting up his ceiling in an unnatural way, casting
|
||
|
shadows in strange places, and putting lights where
|
||
|
shadows had used to be.
|
||
|
The substance of the epistle had occupied him but
|
||
|
little in comparison with the fact of its arrival. He
|
||
|
suddenly wondered if anything more might be found in
|
||
|
the envelope than what he had withdrawn. He jumped
|
||
|
out of bed in the weird light, took the letter, pulled out
|
||
|
the flimsy sheet, shook the envelope -- searched it.
|
||
|
Nothing more was there. Boldwood looked, as he
|
||
|
had a hundred times the preceding day, at the insistent red
|
||
|
seal: "Marry me." he said aloud.
|
||
|
The solemn and reserved yeoman again closed the
|
||
|
letter, and stuck it in the frame of the glass. In doing
|
||
|
so he caught sight of his reflected features, wan in
|
||
|
expression, and insubstantial in form. He saw how
|
||
|
closely compressed was his mouth, and that his eyes
|
||
|
were wide-spread and vacant. Feeling uneasy and dis-
|
||
|
satisfied with himself for this nervous excitability, he
|
||
|
returned to bed.
|
||
|
Then the dawn drew on. The full power of the
|
||
|
clear heaven was not equal to that of a cloudy sky at
|
||
|
noon, when Boldwood arose and dressed himself. He
|
||
|
descended the stairs and went out towards the gate of
|
||
|
a field to the east, leaning over which he paused and
|
||
|
looked around.
|
||
|
It was one of the usual slow sunrises of this time of
|
||
|
the year, and the sky, pure violet in the zenith, was
|
||
|
leaden to the northward, and murky to the east, where,
|
||
|
over the snowy down or ewe-lease on Weatherbury
|
||
|
Upper Farm, and apparently resting upon the ridge, the
|
||
|
only half of the sun yet visible burnt rayless, like a red
|
||
|
and flameless fire shining over a white hearthstone.
|
||
|
The whole effect resembled a sunset as childhood
|
||
|
resembles age.
|
||
|
In other directions, the fields and sky were so much
|
||
|
of one colour by the snow, that it was difficult in a
|
||
|
hasty glance to tell whereabouts the horizon occurred;
|
||
|
and in general there was here, too, that before-mentioned
|
||
|
preternatural inversion of light and shade which attends
|
||
|
the prospect when the garish brightness commonly in
|
||
|
the sky is found on the earth, and the shades of earth
|
||
|
are in the sky. Over the west hung the wasting moon,
|
||
|
now dull and greenish-yellow, like tarnished brass.
|
||
|
Boldwood was listlessly noting how the frost had
|
||
|
hardened and glazed the surface of the snow, till it
|
||
|
shone in the red eastern light wit-h the polish of marble;
|
||
|
how, in some portions of the slope, withered grass-bents,
|
||
|
encased in icicles, bristled through the smooth wan
|
||
|
coverlet in the twisted and curved shapes of old
|
||
|
Venetian glass; and how the footprints of a few birds,
|
||
|
which had hopped over the snow whilst it lay in the
|
||
|
state of a soft fleece, were now frozen to a short perma-
|
||
|
nency. A half-muffled noise of light wheels interrupted
|
||
|
him. Boldwood turned back into the road. It was
|
||
|
the mail-cart -- a crazy, two-wheeled vehicle, hardly
|
||
|
heavy enough to resist a puff of wind. The driver held
|
||
|
out a letter. Boldwood seized it and opened it, ex-
|
||
|
pecting another anonymous one -- so greatly are people's
|
||
|
ideas of probability a mere sense that precedent will
|
||
|
repeat itself.
|
||
|
"I don't think it is for you, sir." said the man, when
|
||
|
he saw Boldwood's action. "Though there is no name
|
||
|
I think it is for your shepherd."
|
||
|
Boldwood looked then at the address --
|
||
|
To the New Shepherd,
|
||
|
Weatherbury Farm,
|
||
|
Near Casterbridge.
|
||
|
"Oh -- what a mistake! -- it is not mine. Nor is it
|
||
|
for my shepherd. It is for Miss Everdene's." You had
|
||
|
better take it on to him -- Gabriel Oak -- and say I opened
|
||
|
it in mistake."
|
||
|
At this moment, on the ridge, up against the blazing
|
||
|
sky, a figure was visible, like the black snuff in the
|
||
|
midst of a candle-flame. Then it moved and began to
|
||
|
bustle about vigorously from place to place, carrying
|
||
|
square skeleton masses, which were riddled by the same
|
||
|
rays. A small figure on all fours followed behind. The
|
||
|
tall form was that of Gabriel Oak; the small one that
|
||
|
of George; the articles in course of transit were hurdles.
|
||
|
"Wait," said Boldwood." That's the man on the hill.
|
||
|
I'll take the letter to him myself."
|
||
|
To Boldwood it was now no longer merely a letter to
|
||
|
I another man. It was an opportunity. Exhibiting a
|
||
|
face pregnant with intention, he entered the snowy field.
|
||
|
Gabriel, at that minute, descended the hill towards
|
||
|
the right. The glow stretched down in this direction
|
||
|
now, and touched the distant roof of Warren's Malthouse
|
||
|
whither the shepherd was apparently bent: Boldwood
|
||
|
followed at a distance.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XV
|
||
|
|
||
|
|
||
|
|
||
|
THE scarlet and orange light outside the malthouse did
|
||
|
not penetrate to its interior, which was, as usual, lighted
|
||
|
by a rival glow of similar hue, radiating from the hearth.
|
||
|
The maltster, after having lain down in his clothes
|
||
|
for a few hours, was now sitting beside a three-legged
|
||
|
table, breakfasting of bread and bacon. This was
|
||
|
eaten on the plateless system, which is performed by
|
||
|
placing a slice of bread upon the table, the meat flat
|
||
|
upon the bread, a mustard plaster upon the meat, and
|
||
|
a pinch of salt upon the whole, then cutting them
|
||
|
vertically downwards with a large pocket-knife till wood
|
||
|
is reached, when the severed lamp is impaled on the
|
||
|
knife, elevated, and sent the proper way of food.
|
||
|
The maltster's lack of teeth appeared not to sensibly
|
||
|
diminish his powers as a mill. He had been without
|
||
|
them for so many years that toothlessness was felt less
|
||
|
to be a defect than hard gums an acquisition. Indeed,
|
||
|
he seemed to approach the grave as a hyperbolic curve
|
||
|
approaches a straight line -- less directly as he got nearer,
|
||
|
till it was doubtful if he would ever reach it at all.
|
||
|
In the ashpit was a heap of potatoes roasting, and a
|
||
|
boiling pipkin of charred bread, called "coffee." for the
|
||
|
benefit of whomsoever should call, for Warren's was a
|
||
|
sort of clubhouse. used as an alternative to the in!
|
||
|
"I say, says I, we get a fine day, and then down
|
||
|
comes a snapper at night." was a remark now suddenly
|
||
|
heard spreading into the malthouse from the door, which
|
||
|
had been opened the previous moment. The form of
|
||
|
Henery Fray advanced to the fire, stamping the snow
|
||
|
from his boots when about half-way there. The speech
|
||
|
and entry had not seemed to be at all an abrupt begin-
|
||
|
ning to the maltster, introductory matter being often
|
||
|
omitted in this neighbourhood, both from word and
|
||
|
deed, and the maltster having the same latitude allowed
|
||
|
him, did not hurry to reply. He picked up a fragment
|
||
|
of cheese, by pecking upon it with his knife, as a butcher
|
||
|
picks up skewers.
|
||
|
Henery appeared in a drab kerseymere great-coat,
|
||
|
buttoned over his smock-frock, the white skirts of the
|
||
|
latter being visible to the distance of about a foot below
|
||
|
the coat-tails, which, when you got used to the style of
|
||
|
dress, looked natural enough, and even ornamental -- it
|
||
|
certainly was comfortable.
|
||
|
Matthew Moon, Joseph Poorgrass, and other carters
|
||
|
and waggoners followed at his heels, with great lanterns
|
||
|
dangling from their hands, which showed that they had
|
||
|
just come from the cart-horse stables, where they had
|
||
|
been busily engaged since four o'clock that morning.
|
||
|
"And how is she getting on without a baily?" the
|
||
|
maltster inquired.
|
||
|
Henery shook his head, and smiled one of the bitter
|
||
|
smiles, dragging all the flesh of his forehead into a
|
||
|
corrugated heap in the centre.
|
||
|
"She'll rue it -- surely, surely!" he said " Benjy
|
||
|
Pennyways were not a true man or an honest baily --
|
||
|
as big a betrayer as Judas Iscariot himself. But to think
|
||
|
she can carr' on alone!" He allowed his head to swing
|
||
|
laterally three or four times in silence. "Never in all my
|
||
|
creeping up -- never!"
|
||
|
This was recognized by all as the conclusion of some
|
||
|
gloomy speech which had been expressed in thought
|
||
|
alone during the shake of the head; Henery meanwhile
|
||
|
retained several marks of despair upon his face, to
|
||
|
imply that they would be required for use again directly
|
||
|
he should go on speaking.
|
||
|
"All will be ruined, and ourselves too, or there's no
|
||
|
meat in gentlemen's houses!" said Mark Clark.
|
||
|
"A headstrong maid, that's what she is -- and won't
|
||
|
listen to no advice at all. Pride and vanity have ruined
|
||
|
many a cobbler's dog. Dear, dear, when I think o' it,
|
||
|
I sorrows like a man in travel!"
|
||
|
"True, Henery, you do, I've heard ye." said Joseph
|
||
|
Poorgrass in a voice of thorough attestation, and with
|
||
|
a wire-drawn smile of misery.
|
||
|
"'Twould do a martel man no harm to have what's
|
||
|
under her bonnet." said Billy Smallbury, who had just
|
||
|
entered, bearing his one tooth before him. "She can
|
||
|
spaik real language, and must have some sense some-
|
||
|
where. Do ye foller me?"
|
||
|
"I do: but no baily -- I deserved that place." wailed
|
||
|
Henery, signifying wasted genius by gazing blankly at
|
||
|
visions of a high destiny apparently visible to him on
|
||
|
Billy Smallbury's smock-frock. "There, 'twas to be, I
|
||
|
suppose. Your lot is your lot, and Scripture is nothing;
|
||
|
for if you do good you don't get rewarded according to
|
||
|
your works, but be cheated in some mean way out of
|
||
|
your recompense."
|
||
|
"No, no; I don't agree with'ee there." said Mark
|
||
|
Clark. God's a perfect gentleman in that respect."
|
||
|
"Good works good pay, so to speak it." attested
|
||
|
Joseph Poorgrass.
|
||
|
A short pause ensued, and as a sort of entr'acte
|
||
|
Henery turned and blew out the lanterns, which the
|
||
|
increase of daylight rendered no longer necessary even
|
||
|
in the malthouse, with its one pane of glass.
|
||
|
"I wonder what a farmer-woman can want with a
|
||
|
harpsichord, dulcimer, pianner, or whatever 'tis they d'call
|
||
|
it?" said the maltster. "Liddy saith she've a new one."
|
||
|
"Got a pianner?"
|
||
|
"Ay. Seems her old uncle's things were not good
|
||
|
enough for her. She've bought all but everything new.
|
||
|
There's heavy chairs for the stout, weak and wiry ones
|
||
|
for the slender; great watches, getting on to the size
|
||
|
of clocks, to stand upon the chimbley-piece."
|
||
|
Pictures, for the most part wonderful frames."
|
||
|
"And long horse-hair settles for the drunk, with horse-
|
||
|
hair pillows at each end." said Mr. Clark. "Likewise
|
||
|
looking-glasses for the pretty, and lying books for the
|
||
|
wicked."
|
||
|
firm loud tread was now heard stamping outside;
|
||
|
the door was opened about six inches, and somebody on
|
||
|
the other side exclaimed --
|
||
|
"Neighbours, have ye got room for a few new-born
|
||
|
lambs?"Ay, sure, shepherd." said the conclave.
|
||
|
The door was flung back till it kicked the wall and
|
||
|
trembled from top to bottom with the blow. Mr.
|
||
|
Oak appeared in the entry with a steaming face, hay-
|
||
|
bands wound about his ankles to keep out the snow, a
|
||
|
leather strap round his waist outside the smock-frock,
|
||
|
and looking altogether an epitome of the world's health
|
||
|
and vigour. Four lambs hung in various embarrassing
|
||
|
attitudes over his shoulders, and the dog George, whom
|
||
|
Gabriel had contrived to fetch from Norcombe, stalked
|
||
|
solemnly behind.
|
||
|
"Well, Shepherd Oak, and how's lambing this year,
|
||
|
if I mid say it?" inquired Joseph Poorgrass.
|
||
|
"Terrible trying," said Oak. "I've been wet through
|
||
|
twice a-day, either in snow or rain, this last fortnight.
|
||
|
Cainy and I haven't tined our eyes to-night."
|
||
|
"A good few twins, too, I hear?"
|
||
|
"Too many by half. Yes; 'tis a very queer lambing
|
||
|
this year. We shan't have done by Lady Day."
|
||
|
"And last year 'twer all over by Sexajessamine
|
||
|
Sunday." Joseph remarked.
|
||
|
"Bring on the rest Cain." said Gabriel, " and then run
|
||
|
back to the ewes. I'll follow you soon."
|
||
|
Cainy Ball -- a cheery-faced young lad, with a small
|
||
|
circular orifice by way of mouth, advanced and deposited
|
||
|
two others, and retired as he was bidden. Oak lowered
|
||
|
the lambs from their unnatural elevation, wrapped them
|
||
|
in hay, and placed them round the fire.
|
||
|
"We've no lambing-hut here, as I used to have at
|
||
|
Norcombe." said Gabriel, " and 'tis such a plague to bring
|
||
|
the weakly ones to a house. If 'twasn't for your place
|
||
|
here, malter, I don't know what I should do! this keen
|
||
|
weather. And how is it with you to-day, malter?"
|
||
|
"Oh, neither sick nor sorry, shepherd, but no
|
||
|
younger."
|
||
|
"Ay -- I understand."
|
||
|
"Sit down, Shepherd Oak," continued the ancient man
|
||
|
of malt. "And how was the old place at Norcombe,
|
||
|
when ye went for your dog? I should like to see the
|
||
|
old familiar spot; but faith, I shouldn't" know a soul
|
||
|
there now."
|
||
|
"I suppose you wouldn't. 'Tis altered very much."
|
||
|
"Is it true that Dicky Hill's wooden cider-house is
|
||
|
pulled down?"
|
||
|
"O yes -- years ago, and Dicky's cottage just above it."
|
||
|
"Well, to be sure!,
|
||
|
"Yes; and Tompkins's old apple-tree is rooted that
|
||
|
used to bear two hogsheads of cider; and no help from
|
||
|
other trees."
|
||
|
"Rooted? -- you don't say it! Ah! stirring times we
|
||
|
live in -- stirring times."
|
||
|
And you can mind the old well that used to be in
|
||
|
the middle of the place? That's turned into a solid
|
||
|
iron pump with a large stone trough, and all complete."
|
||
|
"Dear, dear -- how the face of nations alter, and
|
||
|
what we live to see nowadays! Yes -- and 'tis the same
|
||
|
here. They've been talking but now of the mis'ess's
|
||
|
strange doings."
|
||
|
"What have you been saying about her?" inquired
|
||
|
Oak, sharply turning to the rest, and getting very
|
||
|
warm.
|
||
|
"These middle-aged men have been pulling her over
|
||
|
the coals for pride and vanity." said Mark Clark; "but
|
||
|
I say, let her have rope enough. Bless her pretty face
|
||
|
shouldn't I like to do so -- upon her cherry lips!"
|
||
|
The gallant Mark Clark here made a peculiar and well
|
||
|
known sound with his own.
|
||
|
"Mark." said Gabriel, sternly, "now you mind this!
|
||
|
none of that dalliance-talk -- that smack-and-coddle style
|
||
|
of yours -- about Miss Everdene. I don't allow it. Do
|
||
|
you hear? "
|
||
|
"With all my heart, as I've got no chance." replied
|
||
|
Mr. Clark, cordially.
|
||
|
"I suppose you've been speaking against her?" said
|
||
|
Oak, turning to Joseph Poorgrass with a very grim
|
||
|
look.
|
||
|
"No, no -- not a word I -- 'tis a real joyful thing that
|
||
|
she's no worse, that's what I say." said Joseph, trembling
|
||
|
and blushing with terror. "Matthew just said -- -- "
|
||
|
"Matthew Moon, what have you been saying?" asked
|
||
|
Oak.
|
||
|
"I? Why ye know I wouldn't harm a worm -- no,
|
||
|
not one underground worm?" said Matthew Moon,
|
||
|
looking very uneasy.
|
||
|
"Well, somebody has -- and look here, neighbours."
|
||
|
Gabriel, though one of the quietest and most gentle
|
||
|
men on earth, rose to the occasion, with martial
|
||
|
promptness and vigour. "That's my fist." Here he
|
||
|
placed his fist, rather smaller in size than a common
|
||
|
loaf, in the mathemarical centre of the maltster's little
|
||
|
table, and with it gave a bump or two thereon, as if
|
||
|
to ensure that their eyes all thoroughly took in the
|
||
|
idea of fistiness before he went further. "Now -- the
|
||
|
first man in the parish that I hear prophesying bad of
|
||
|
our mistress, why" (here the fist was raised and let fall
|
||
|
as T'hor might have done with his hammer in assaying
|
||
|
it) -- "he'll smell and taste that -- or I'm a Dutchman."
|
||
|
All earnestly expressed by their features that their
|
||
|
minds did not wander to Holland for a moment on
|
||
|
account of this statement, but were deploring the
|
||
|
difference which gave rise to the figure; and Mark
|
||
|
Clark cried "Hear, hear; just what I should ha' said."
|
||
|
The dog George looked up at the same time after the
|
||
|
shepherd's menace, and though he understood English
|
||
|
but imperfectly, began to growl.
|
||
|
"Now, don't ye take on so, shepherd, and sit down!"
|
||
|
said Henery, with a deprecating peacefulness equal to
|
||
|
anything of the kind in Christianity.
|
||
|
"We hear that ye be a extraordinary good and
|
||
|
clever man, shepherd." said Joseph Poorgrass with
|
||
|
considerable anxiety from behind the maltster's bed-
|
||
|
stead whither he had retired for safety. "'Tis a great
|
||
|
thing to be clever, I'm sure." he added, making move-
|
||
|
ments associated with states of mind rather than body;
|
||
|
"we wish we were, don't we, neighbours?"
|
||
|
"Ay, that we do, sure." said Matthew Moon, with
|
||
|
a small anxious laugh towards Oak, to show how very
|
||
|
friendly disposed he was likewise.
|
||
|
"Who's been telling you I'm clever?" said Oak.
|
||
|
"'Tis blowed about from pillar to post quite common,"
|
||
|
said Matthew. "We hear that ye can tell the time as
|
||
|
well by the stars as we can by the sun and moon,
|
||
|
shepherd."
|
||
|
"Yes, I can do a little that way." said Gabriel, as a
|
||
|
man of medium sentiments on the subject.
|
||
|
names upon their waggons almost like copper-plate,
|
||
|
with beautiful flourishes, and great long tails. A
|
||
|
excellent fine thing for ye to be such a clever man,
|
||
|
shepherd. Joseph Poorgrass used to prent to Farmer
|
||
|
James Everdene's waggons before you came, and 'a
|
||
|
could never mind which way to turn the J's and E's
|
||
|
-- could ye, Joseph?" Joseph shook his head to express
|
||
|
how absolute was the fact that he couldn't. "And so
|
||
|
you used to do 'em the wrong way, like this, didn't ye,
|
||
|
Joseph?" Matthew marked on the dusty floor with his
|
||
|
whip-handle.
|
||
|
"And how Farmer James would cuss, and call thee a
|
||
|
fool, wouldn't he, Joseph, when 'a seed his name
|
||
|
looking so inside-out-like?" continued Matthew Moon
|
||
|
with feeling.
|
||
|
"Ay -- 'a would." said Joseph, meekly. "But, you see,
|
||
|
I wasn't so much to blame, for them J's and E's be
|
||
|
such trying sons o' witches for the memory to mind
|
||
|
whether they face backward or forward; and I always
|
||
|
had such a forgetful memory, too."
|
||
|
"'Tis a bad afiction for ye, being such a man of
|
||
|
calamities in other ways."
|
||
|
"Well, 'tis; but a happy Providence ordered that it
|
||
|
should be no worse, and I feel my thanks. As to
|
||
|
shepherd, there, I'm sure mis'ess ought to have made
|
||
|
ye her baily -- such a fitting man for't as you be."
|
||
|
"I don't mind owning that I expected it." said Oak,
|
||
|
frankly." Indeed, I hoped for the place. At the same
|
||
|
time, Miss Everdene has a right to be own baily if
|
||
|
she choose -- and to keep me down to be a common
|
||
|
shepherd only." Oak drew a slow breath, looked sadly
|
||
|
into the bright ashpit, and seemed lost in thoughts not
|
||
|
of the most hopeful hue.
|
||
|
The genial warmth of the fire now began to stimulate
|
||
|
the nearly lifeless lambs to bleat and move their limbs
|
||
|
briskly upon the hay, and to recognize for the first time
|
||
|
the fact that they were born. Their noise increased to a
|
||
|
chorus of baas, upon which Oak pulled the milk-can from
|
||
|
before the fire, and taking a small tea-pot from the pocket
|
||
|
of his smock-frock, filled it with milk, and taught those of
|
||
|
the helpless creatures which were not to be restored to
|
||
|
their dams how to drink from the spout -- a trick they
|
||
|
acquired with astonishing aptitude.
|
||
|
"And she don't even let ye have the skins of the
|
||
|
dead lambs, I hear?" resumed Joseph Poorgrass, his
|
||
|
eyes lingering on the operations of Oak with the neces-
|
||
|
sary melancholy.
|
||
|
"I don't have them." said Gabriel.
|
||
|
"Ye be very badly used, shepherd." hazarded Joseph
|
||
|
again, in the hope of getting Oak as an ally in lamenta-
|
||
|
tion after all. "I think she's took against ye -- that
|
||
|
I do."
|
||
|
"O no -- not at all." replied Gabriel, hastily, and a
|
||
|
sigh escaped him, which the deprivation of lamb skins
|
||
|
could hardly have caused.
|
||
|
Before any further remark had been added a shade
|
||
|
darkened the door, and Boldwood entered the malthouse,
|
||
|
bestowing upon each a nod of a quality between friendli-
|
||
|
ness and condescension.
|
||
|
"Ah! Oak, I thought you were here." he said. "I
|
||
|
met the mail-cart ten minutes ago, and a letter was put
|
||
|
into my hand, which I opened without reading the
|
||
|
address. I believe it is yours. You must excuse the
|
||
|
accident please."
|
||
|
"O yes -- not a bit of difference, Mr. Boldwood --
|
||
|
not a bit." said Gabriel, readily. He had not a corre-
|
||
|
spondent on earth, nor was there a possible letter coming
|
||
|
to him whose contents the whole parish would not have
|
||
|
been welcome to persue.
|
||
|
Oak stepped aside, and read the following in an
|
||
|
unknown hand: --
|
||
|
"DEAR FRIEND, -- I do not know your name, but l think
|
||
|
these few lines will reach you, which I wrote to thank you
|
||
|
for your kindness to me the night I left Weatherbury in a
|
||
|
reckless way. I also return the money I owe you, which
|
||
|
you will excuse my not keeping as a gift. All has ended
|
||
|
well, and I am happy to say I am going to be married to
|
||
|
the young man who has courted me for some time -- Sergeant
|
||
|
Troy, of the 11th Dragoon Guards, now quartered in this
|
||
|
town. He would, I know, object to my having received
|
||
|
anything except as a loan, being a man of great respecta-
|
||
|
bility and high honour -- indeed, a nobleman by blood.
|
||
|
"I should be much obliged to you if you would keep the
|
||
|
contents of this letter a secret for the present, dear friend.
|
||
|
We mean to surprise Weatherbury by coming there soon
|
||
|
as husband and wife, though l blush to state it to one nearly
|
||
|
a stranger. The sergeant grew up in Weatherbury. Thank-
|
||
|
ing you again for your kindness,
|
||
|
"I am, your sincere well-wisher,
|
||
|
"FANNY ROBIN."
|
||
|
"Have you read it, Mr. Boldwood?" said Gabriel;
|
||
|
"if not, you had better do so. I know you are interested
|
||
|
in Fanny Robin."
|
||
|
Boldwood read the letter and looked grieved.
|
||
|
"Fanny -- poor Fanny! the end she is so confident
|
||
|
of has not yet come, she should remember -- and may
|
||
|
never come. I see she gives no address."
|
||
|
"What sort of a man is this Sergeant Troy?" said
|
||
|
Gabriel.
|
||
|
"H'm -- I'm afraid not one to build much hope upon
|
||
|
in such a case as this." the farmer murmured, "though
|
||
|
he's a clever fellow, and up to everything. A slight
|
||
|
romance attaches to him, too. His mother was a French
|
||
|
governess, and it seems that a secret attachment existed
|
||
|
between her and the late Lord Severn. She was married
|
||
|
to a poor medical man, and soon after an infant was
|
||
|
horn; and while money was forthcoming all went on
|
||
|
well. Unfortunately for her boy, his best friends died;
|
||
|
and he got then a situation as second clerk at a lawyer's
|
||
|
in Casterbridge. He stayed there for some time, and
|
||
|
might have worked himself into a dignified position of
|
||
|
some sort had he not indulged in the wild freak of
|
||
|
enlisting. I have much doubt if ever little Fanny will
|
||
|
surprise us in the way she mentions -- very much doubt
|
||
|
A silly girl! -- silly girl!"
|
||
|
The door was hurriedly burst open again, and in
|
||
|
came running Cainy Ball out of breath, his mouth red
|
||
|
and open, like the bell of a penny trumpet, from which
|
||
|
he coughed with noisy vigour and great distension of face.
|
||
|
"Now, Cain Ball." said Oak, sternly, "why will you
|
||
|
run so fast and lose your breath so? I'm always telling
|
||
|
you of it."
|
||
|
"Oh -- I -- a puff of mee breath -- went -- the -- wrong
|
||
|
way, please, Mister Oak, and made me cough -- hok --
|
||
|
hok!"
|
||
|
"Well -- what have you come for?"
|
||
|
"I've run to tell ye." said the junior shepherd,
|
||
|
supporting his exhausted youthful frame against the
|
||
|
doorpost," that you must come directly'. Two more ewes
|
||
|
have twinned -- that's what's the matter, Shepherd Oak."
|
||
|
"Oh, that's it." said Oak, jumping up, and dimissing
|
||
|
for the present his thoughts on poor Fanny. "You are
|
||
|
a good boy to run and tell me, Cain, and you shall
|
||
|
smell a large plum pudding some day as a treat. But,
|
||
|
before we go, Cainy, bring the tarpot, and we'll mark
|
||
|
this lot and have done with 'em."
|
||
|
Oak took from his illimitable pockets a marking iron,
|
||
|
dipped it into the pot, and imprintcd on the buttocks
|
||
|
of the infant sheep the initials of her he delighted to
|
||
|
muse on -- "B. E.." which signified to all the region
|
||
|
round that henceforth the lambs belonged to Farmer
|
||
|
Bathsheba Everdene, and to no one else.
|
||
|
"Now, Cainy, shoulder your two, and off Good
|
||
|
morning, Mr. Boldwood." The shepherd lifted the
|
||
|
sixteen large legs and four small bodies he had himself
|
||
|
brought, and vanished with them in the direction of
|
||
|
the lambing field hard by -- their frames being now in a
|
||
|
sleek and hopeful state, pleasantly contrasting with their
|
||
|
death's-door plight of half an hour before.
|
||
|
Boldwood followed him a little way up the field,
|
||
|
hesitated, and turned back. He followed him again
|
||
|
with a last resolve, annihilating return. On approaching
|
||
|
the nook in which the fold was constructed, the farmer
|
||
|
drew out-his pocket-book, unfastened-it, and allowed it
|
||
|
to lie open on his hand. A letter was revealed -- Bath-
|
||
|
sheba's.
|
||
|
"I was going to ask you, Oak." he said, with unreal
|
||
|
carelessness, "if you know whose writing this is? "
|
||
|
Oak glanced into the book, and replied instantly,
|
||
|
with a flushed face, " Miss Everdene's."
|
||
|
Oak had coloured simply at the consciousness of
|
||
|
sounding her name. He now felt a strangely distressing
|
||
|
qualm from a new thought." The letter could of course
|
||
|
be no other than anonymous, or the inquiry would not
|
||
|
have been necessary.
|
||
|
Boldwood mistook his confusion: sensitive persons
|
||
|
are always ready with their "Is it I?" in preference to
|
||
|
objective reasoning.
|
||
|
"The question was perfectly fair." he returned -- and
|
||
|
there was something incongruous in the serious earnest-
|
||
|
ness with which he applied himself to an argument on
|
||
|
a valentine. "You know it is always expected that
|
||
|
privy inquiries will be made: that's where the -- fun
|
||
|
lies." If the word "fun" had been "torture." it could
|
||
|
not have been uttered with a more constrained and
|
||
|
restless countenance than was Boldwood's then."
|
||
|
Soon parting from Gabriel, the lonely and reserved
|
||
|
man returned to his house to breakfast -- feeling twinges
|
||
|
of shame and regret at having so far exposed his mood
|
||
|
by those fevered questions to a stranger. He again
|
||
|
placed the letter on the mantelpiece, and sat down to
|
||
|
think of the circumstances attending it by the light of
|
||
|
Gabriel's information.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XVI
|
||
|
|
||
|
|
||
|
|
||
|
ALL SAINTS' AND ALL SOULS'
|
||
|
|
||
|
|
||
|
ON a week-day morning a small congregation, con-
|
||
|
sisting mainly of women and girls, rose from its knees
|
||
|
in the mouldy nave of a church called All Saints', in
|
||
|
the distant barrack-town before mentioned, at the end
|
||
|
of a service without a sermon. They were about to
|
||
|
disperse, when a smart footstep, entering the porch and
|
||
|
coming up the central passage, arrested their attention.
|
||
|
The step echoed with a ring unusual in a church; it
|
||
|
was the clink of spurs. Everybody looked. A young
|
||
|
cavalry soldier in a red uniform, with the three chevrons
|
||
|
of a sergeant upon his sleeve, strode up the aisle, with
|
||
|
an embarrassment which was only the more marked
|
||
|
by the intense vigour of his step, and by the deter-
|
||
|
mination upon his face to show none. A slight flush
|
||
|
had mounted his cheek by the time he had run the
|
||
|
gauntlet between these women; but, passing on through
|
||
|
the chancel arch, he never paused till he came close
|
||
|
to the altar railing. Here for a moment he stood
|
||
|
alone.
|
||
|
The officiating curate, who had not yet doffed his
|
||
|
surplice, perceived the new-comer, and followed him
|
||
|
to the communion-space. He whispered to the soldier,
|
||
|
and then beckoned to the clerk, who in his turn
|
||
|
whispered to an elderly woman, apparently his wife, and
|
||
|
they also went up the chancel steps.
|
||
|
"'Tis a wedding!" murmured some of the women,
|
||
|
brightening. "Let's wait!"
|
||
|
The majority again sat down.
|
||
|
There was a creaking of machinery behind, and
|
||
|
some of the young ones turned their heads. From the
|
||
|
interior face of the west wall of the tower projected a
|
||
|
little canopy with a quarter-jack and small bell beneath
|
||
|
it, the automaton being driven by the same clock
|
||
|
machinery that struck the large bell in the tower. Be-
|
||
|
tween the tower and the church was a close screen, the
|
||
|
door of which was kept shut during services, hiding
|
||
|
this grotesque clockwork from sight. At present, how-
|
||
|
ever, the door was open, and the egress of the jack, the
|
||
|
blows on the bell, and the mannikin's retreat into.the
|
||
|
nook again, were visible to many, and audible through-
|
||
|
out the church.
|
||
|
The jack had struck half-past eleven.
|
||
|
"Where's the woman?" whispered some of the
|
||
|
spectators.
|
||
|
The young sergeant stood still with the abnormal
|
||
|
rigidity of the old pillars around. He faced the south-
|
||
|
east, and was as silent as he was still.
|
||
|
The silence grew to be a noticeable thing as the
|
||
|
minutes went on, and nobody else appeared, and not a
|
||
|
soul moved. The rattle of the quarter-jack again from
|
||
|
its niche, its blows for three-quarters, its fussy retreat,
|
||
|
were almost painfully abrupt, and caused many of the
|
||
|
congregation to start palpably.
|
||
|
"I wonder where the woman is!" a voice whispered
|
||
|
again.
|
||
|
There began now that slight shifting of feet, that
|
||
|
artificial coughing among several, which betrays a
|
||
|
nervous suspense. At length there was a titter. But
|
||
|
the soldier never moved. There he stood, his face to
|
||
|
the south-east, upright as a column, his cap in his hand.
|
||
|
The clock ticked on. The women threw off their
|
||
|
nervousness, and titters and giggling became more
|
||
|
frequent. Then came a dead silence. Every one was
|
||
|
waiting for the end. Some persons may have noticed
|
||
|
how extraordinarily the striking of quarters. seems to
|
||
|
quicken the flight of time. It was hardly credible that
|
||
|
the jack had not got wrong with the minutes when the
|
||
|
rattle began again, the puppet emerged, and the four
|
||
|
quarters were struck fitfully as before: One could al-
|
||
|
most be positive that there was a malicious leer upon
|
||
|
the hideous creature's face, and a mischievous delight
|
||
|
in its twitchings. Then, followed the dull and remote
|
||
|
resonance of the twelve heavy strokes in the tower
|
||
|
above. The women were impressed, and there was no
|
||
|
giggle this time.
|
||
|
The clergyman glided into the vestry, and the clerk
|
||
|
vanished. The sergeant had not yet turned; every
|
||
|
woman in the church was waiting to see his face, and
|
||
|
he appeared to know it. At last he did turn, and
|
||
|
stalked resolutely down the nave, braving them all,
|
||
|
with a compressed lip. Two bowed and toothless old
|
||
|
almsmen then looked at each other and chuckled,
|
||
|
innocently enough; but the sound had a strange weird
|
||
|
effect in that place.
|
||
|
Opposite to the church was a paved square, around
|
||
|
which several overhanging wood buildings of old time
|
||
|
cast a picturesque shade. The young man on leaving
|
||
|
the door went to cross the square, when, in the middle,
|
||
|
he met a little woman. The expression of her face,
|
||
|
which had been one of intense anxiety, sank at the
|
||
|
sight of his nearly to terror.
|
||
|
"Well?" he said, in a suppressed passion, fixedly
|
||
|
looking at her.
|
||
|
"O, Frank -- I made a mistake! -- I thought that
|
||
|
church with the spire was All Saints', and I was at the
|
||
|
door at half-past eleven to a minute as you said.
|
||
|
waited till a quarter to twelve, and found then that I
|
||
|
was in All Souls'. But I wasn't much frightened, for
|
||
|
I thought it could be to-morrow as well."
|
||
|
"You fool, for so fooling me! But say no more."
|
||
|
"Shall it be to-morrow, Frank?" she asked blankly.
|
||
|
"To-morrow!" and he gave vent to a hoarse laugh.
|
||
|
"I don't go through that experience again for some
|
||
|
time, I warrant you!"
|
||
|
"But after all." she expostulated in a trembling voice,
|
||
|
"the mistake was not such a terrible thing! Now, dear
|
||
|
Frank, when shall it be?"
|
||
|
"Ah, when? God knows!" he said, with a light
|
||
|
irony, and turning from her walked rapidly away.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XVII
|
||
|
|
||
|
|
||
|
|
||
|
IN THE MARKET-PLACE
|
||
|
|
||
|
|
||
|
ON Saturday Boldwood was in Casterbridge market
|
||
|
house as usual, when the disturber of his dreams entered
|
||
|
and became visible to him. Adam had awakened from
|
||
|
his deep sleep, and behold! there was Eve. The
|
||
|
farmer took courage, and for the first time really looked
|
||
|
at her.
|
||
|
Material causes and emotional effects are not to be
|
||
|
arranged in regular equation. The result from capital
|
||
|
employed in the production of any movement of a
|
||
|
mental nature is sometimes as tremendous as the cause
|
||
|
itself is absurdly minute. When women are in a freakish
|
||
|
mood, their usual intuition, either from carelessness or
|
||
|
inherent defect, seemingly fails to teach them this, and
|
||
|
hence it was that Bathsheba was fated to be astonished
|
||
|
today.
|
||
|
Boldwood looked at her -- not slily, critically, or
|
||
|
understandingly, but blankly at gaze, in the way a
|
||
|
reaper looks up at a passing train -- as something foreign
|
||
|
to his element, and but dimly understood. To Bold-
|
||
|
wood women had been remote phenomena rather than
|
||
|
necessary complements -- comets of such uncertain
|
||
|
aspect, movement, and permanence, that whether
|
||
|
their orbits were as geometrical, unchangeable, and
|
||
|
as subject to laws as his own, or as absolutely erratic
|
||
|
as they superficially appeared, he had not deemed it
|
||
|
his duty to consider.
|
||
|
He saw her black hair, her correct facial curves
|
||
|
and profile, and the roundness of her chin and throat.
|
||
|
He saw then the side of her eyelids, eyes, and lashes,
|
||
|
and the shape of her ear. Next he noticed her figure,
|
||
|
her skirt, and the very soles of her shoes.
|
||
|
Boldwood thought her beautiful, but wondered
|
||
|
whether he was right in his thought, for it seemed
|
||
|
impossible that this romance in the flesh, if so sweet
|
||
|
as he imagined, could have been going on long without
|
||
|
creating a commotion of delight among men, and pro-
|
||
|
voking more inquiry than Bathsheba had done, even
|
||
|
though that was not a little. To the best of his judge-
|
||
|
ment neither nature nor art could improve this perfect
|
||
|
one of an imperfect many. His heart began to move
|
||
|
within him. Boldwood, it must be remembered, though
|
||
|
forty years of age, had never before inspected a woman
|
||
|
with the very centre and force of his glance; they had
|
||
|
struck upon all his senses at wide angles.
|
||
|
Was she really beautiful? He could not assure
|
||
|
himself that his opinion was true even now. He fur-
|
||
|
tively said to a neighbour, "Is Miss Everdene considered
|
||
|
handsome?"
|
||
|
"O yes; she was a good deal noticed the first
|
||
|
time she came, if you remember. A very handsome
|
||
|
girl indeed."
|
||
|
A man is never more credulous than in receiving
|
||
|
favourable opinions on the beauty of a woman he is
|
||
|
half, or quite, in love with; a mere child's word on the
|
||
|
point has the weight of an R.A.'s. Boldwood was
|
||
|
satisfied now.
|
||
|
And this charming woman had in effect said to
|
||
|
him, "Marry me." Why should she have done that
|
||
|
strange thing? Boldwood's blindness to the difference
|
||
|
between approving of what circumstances suggest, and
|
||
|
originating what they do not suggest, was well matched
|
||
|
by Bathsheba's insensibility to the possibly great issues
|
||
|
of little beginnings.
|
||
|
She was at this moment coolly dealing with a dashing
|
||
|
young farmer, adding up accounts with him as indiffer-
|
||
|
ently as if his face had been the pages of a ledger. It
|
||
|
was evident that such a nature as his had no attraction
|
||
|
for a woman of Bathsheba's taste. But Boldwood grew
|
||
|
hot down to his hands with an incipient jealousy; he
|
||
|
trod for the first time the threshold of "the injured
|
||
|
lover's hell." His first impulse was to go and thrust
|
||
|
himself between them. This could be done, but only
|
||
|
in one way -- by asking to see a sample of her corn.
|
||
|
Boldwood renounced the idea. He could not make
|
||
|
the request; it was debasing loveliness to ask it to
|
||
|
buy and sell, and jarred with his conceptions of her.
|
||
|
All this time Bathsheba was conscious of having
|
||
|
broken into that dignified stronghold at last. His
|
||
|
eyes, she knew, were following her everywhere. This
|
||
|
was a triumph; and had it come naturally, such a
|
||
|
triumph would have been the sweeter to her for this
|
||
|
piquing delay. But it had been brought about by
|
||
|
misdirected ingenuity, and she valued it only as she
|
||
|
valued an artificial flower or a wax fruit.
|
||
|
Being a woman with some good sense in reasoning
|
||
|
on subjects wherein her heart was not involved, Bath-
|
||
|
sheba genuinely repented that a freak which had owed
|
||
|
its existence as much to Liddy as to herself, should
|
||
|
ever have been undertaken, to disturb the placidity of
|
||
|
a man she respected too highly to deliberately tease.
|
||
|
She that day nearly formed the intention of begging
|
||
|
his pardon on the very next occasion of their meeting.
|
||
|
The worst features of this arrangement were that, if
|
||
|
he thought she ridiculed him, an apology would in-
|
||
|
crease the offence by being disbelieved; and if he
|
||
|
thought she wanted him to woo her, it would read
|
||
|
like additional evidence of her forwardness.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XVIII
|
||
|
|
||
|
|
||
|
|
||
|
BOLDWOOD IN MEDITATION -- REGRET
|
||
|
|
||
|
|
||
|
BOLDWOOD was tenant of what was called Little
|
||
|
Weatherbury Farm, and his person was the nearest ap-
|
||
|
proach to aristocracy that this remoter quarter of the
|
||
|
parish could boast of. Genteel strangers, whose god
|
||
|
was their town, who might happen to be compelled to
|
||
|
linger about this nook for a day, heard the sound of
|
||
|
light wheels, and prayed to see good society, to the
|
||
|
degree of a solitary lord, or squire at the very least,
|
||
|
but it was only Mr. Boldwood going out for the day.
|
||
|
They heard the sound of wheels yet once more, and
|
||
|
were re-animated to expectancy: it was only Mr. Bold-
|
||
|
wood coming home again.
|
||
|
His house stood recessed from the road, and the
|
||
|
stables, which are to a farm what a fireplace is to a
|
||
|
room, were behind, their lower portions being lost
|
||
|
amid bushes of laurel. Inside the blue door, open
|
||
|
half-way down, were to be seen at this time the backs
|
||
|
and tails of half-a-dozen warm and contented horses
|
||
|
standing in their stalls; and as thus viewed, they pre-
|
||
|
sented alternations of roan and bay, in shapes like a
|
||
|
Moorish arch, the tail being a streak down the midst
|
||
|
of each. Over these, and lost to the eye gazing in
|
||
|
from the outer light, the mouths of the same animals
|
||
|
could be heard busily sustaining the above-named
|
||
|
warmth and plumpness by quantities of oats and hay.
|
||
|
The restless and shadowy figure of a colt wandered
|
||
|
about a loose-box at the end, whilst the steady grind
|
||
|
of all the eaters was occasionally diversified by the
|
||
|
rattle of a rope or the stamp of a foot.
|
||
|
Pacing up and down at the heels of the animals was
|
||
|
Farmer Boldwood himself. This place was his almonry
|
||
|
and cloister in one: here, after looking to the feeding
|
||
|
of his four-footed dependants, the celibate would walk
|
||
|
and meditate of an evening till the moon's rays streamed
|
||
|
in through the cobwebbed windows, or total darkness
|
||
|
enveloped the scene.
|
||
|
His square-framed perpendicularity showed more fully
|
||
|
now than in the crowd and bustle of the market-house.
|
||
|
In this meditative walk his foot met the floor with heel
|
||
|
and toe simultaneously, and his fine reddish-fleshed face
|
||
|
was bent downwards just enough to render obscure the
|
||
|
still mouth and the well-rounded though rather prominent
|
||
|
and broad chin. A few clear and thread-like horizontal
|
||
|
lines were the only interruption to the otherwise smooth
|
||
|
surface of his large forehead.
|
||
|
The phases of Boldwood's life were ordinary enough,
|
||
|
but his was not an ordinary nature. That stillness,
|
||
|
which struck casual observers more than anything else
|
||
|
in his character and habit, and seemed so precisely
|
||
|
like the rest of inanition, may have been the perfect
|
||
|
balance of enormous antagonistic forces -- positives and
|
||
|
negatives in fine adjustment. His equilibrium disturbed,
|
||
|
he was in extremity at once. If an emotion possessed
|
||
|
him at all, it ruled him; a feeling not mastering him
|
||
|
was entirely latent. Stagnant or rapid, it was never
|
||
|
slow. He was always hit mortally, or he was missed.
|
||
|
He had no light and careless touches in his constitu-
|
||
|
tion, either for good or for evil. Stern in the outlines of
|
||
|
action, mild in the details, he was serious throughout all.
|
||
|
He saw no absurd sides to the follies of life, and thus,
|
||
|
though not quite companionable in the eyes of merry
|
||
|
men and scoffers, and those to whom all things show
|
||
|
life as a jest, he was not intolerable to the earnest and
|
||
|
those acquainted with grief. Being a man -who read
|
||
|
all the dramas of life seriously, if he failed to please
|
||
|
when they were comedies, there was no frivolous treat-
|
||
|
ment to reproach him for when they chanced to end
|
||
|
tragically.
|
||
|
Bathsheba was far from dreaming that the dark and
|
||
|
silent shape upon which she had so carelessly thrown a
|
||
|
seed was a hotbed of tropic intensity. Had she known
|
||
|
Boldwood's moods, her blame would have been fearful,
|
||
|
and the stain upon her heart ineradicable. Moreover,
|
||
|
had she known her present power for good or evil over
|
||
|
this man, she would have trembled at her responsibility.
|
||
|
Luckily for her present, unluckily for her future tran-
|
||
|
quillity, her understanding had not yet told her what
|
||
|
Boldwood was. Nobody knew entirely; for though it
|
||
|
was possible to form guesses concerning his wild capa-
|
||
|
bilities from old floodmarks faintly visible, he had never
|
||
|
been seen at the high tides which caused them.
|
||
|
Farmer Boldwood came to the stable-door and looked
|
||
|
forth across the level fields. Beyond the first enclosure
|
||
|
was a hedge, and on the other side of this a meadow
|
||
|
belonging to Bathsheba's farm.
|
||
|
It was now early spring -- the time of going to grass
|
||
|
with the sheep, when they have the first feed of the
|
||
|
meadows, before these are laid up for mowing. The
|
||
|
wind, which had been blowing east for several weeks,
|
||
|
had veered to the southward, and the middle of spring
|
||
|
had come abruptly -- almost without a beginning. It
|
||
|
was that period in the vernal quarter when we map
|
||
|
suppose the Dryads to be waking for the season. The
|
||
|
vegetable world begins to move and swell and the saps
|
||
|
to rise, till in the completest silence of lone gardens
|
||
|
and trackless plantations, where- everything seems -help-
|
||
|
less and still after the bond and slavery of frost, there
|
||
|
are bustlings, strainings, united thrusts, and pulls-all-
|
||
|
together, in comparison with which the powerful tugs of
|
||
|
cranes and pulleys in a noisy city are but pigmy efforts.
|
||
|
Boldwood, looking into the distant meadows, saw
|
||
|
there three figures. They were those of Miss Everdene,
|
||
|
Shepherd Oak, and Cainy Ball.
|
||
|
When Bathsheba's figure shone upon the farmer's
|
||
|
eyes it lighted him up as the moon lights up a great
|
||
|
tower. A man's body is as the shell; or the tablet, of
|
||
|
his soul, as he is reserved or ingenuous, overflowing or
|
||
|
self-contained. There was a change in Boldwood's
|
||
|
exterior from its former impassibleness; and his face
|
||
|
showed that he was now living outside his defences
|
||
|
for the first time, and with a fearful sense of exposure.
|
||
|
It is the usual experience of strong natures when they
|
||
|
love.
|
||
|
At last he arrived at a conclusion. It was to go
|
||
|
across and inquire boldly of her.
|
||
|
The insulation of his heart by reserve during these
|
||
|
many years, without a channel of any kind for disposable
|
||
|
emotion, had worked its effect. It has been observed
|
||
|
more than once that the causes of love are chiefly
|
||
|
subjective, and Boldwood was a living testimony to
|
||
|
the truth of the proposition. No mother existed to
|
||
|
absorb his devotion, no sister for his tenderness, no
|
||
|
idle ties for sense. He became surcharged with the
|
||
|
compound, which was genuine lover's love.
|
||
|
He approached the gate of the meadow. Beyond
|
||
|
it the ground was melodious with ripples, and the sky
|
||
|
with larks; the low bleating of the flock mingling with
|
||
|
both. Mistress and man were engaged in the operation
|
||
|
of making a lamb "take." which is performed whenever
|
||
|
an ewe has lost her own offspring, one of the twins of
|
||
|
another ewe being given her as a substitute. Gabriel
|
||
|
had skinned the dead lamb, and was tying the skin
|
||
|
over the body of the live lamb, in the customary manner,
|
||
|
whilst Bathsheba was holding open a little pen of four
|
||
|
hurdles, into which the Mother and foisted lamb were
|
||
|
driven, where they would remain till the old sheep
|
||
|
conceived an affection for the young one.
|
||
|
Bathsheba looked up at the completion of the
|
||
|
manouvre, and saw the farmer by the gate, where he
|
||
|
was overhung by a willow tree in full bloom. Gabriel,
|
||
|
to whom her face was as the uncertain glory of an April
|
||
|
day, was ever regardful of its faintest changes, and
|
||
|
instantly discerned thereon the mark of some influence
|
||
|
from without, in the form of a keenly self-conscious
|
||
|
reddening. He also turned and beheld Boldwood.
|
||
|
At onee connecting these signs with the letter Bold-
|
||
|
wood had shown him, Gabriel suspected her of some
|
||
|
coquettish procedure begun by that means, and carried
|
||
|
on since, he knew not how.
|
||
|
Farmer Boldwood had read the pantomime denoting
|
||
|
that they were aware of his presence, and the perception
|
||
|
was as too much light turned upon his new sensibility.
|
||
|
He was still in the road, and by moving on he hoped
|
||
|
that neither would recognize that he had originally
|
||
|
intended to enter the field. He passed by with an
|
||
|
utter and overwhelming sensation of ignorance, shyness,
|
||
|
and doubt. Perhaps in her manner there were signs
|
||
|
that she wished to see him -- perhaps not -- he could not
|
||
|
read a woman. The cabala of this erotic philosophy
|
||
|
seemed to consist of the subtlest meanings expressed in
|
||
|
misleading ways. Every turn, look, word, and accent
|
||
|
contained a mystery quite distinct from its obvious
|
||
|
import, and not one had ever been pondered by him
|
||
|
until now.
|
||
|
As for Bathsheba, she was not deceived into the
|
||
|
belief that Farmer Boldwood had walked by on business
|
||
|
or in idleness. She collected the probabilities of the
|
||
|
case, and concluded that she was herself responsible for
|
||
|
Boldwood's appearance there. It troubled her much
|
||
|
to see what a great flame a little Wildfire was likely to
|
||
|
kindle. Bathsheba was no schemer for marriage, nor
|
||
|
was she deliberately a trifler with the affections of men,
|
||
|
and a censor's experience on seeing an actual flirt after
|
||
|
observing her would have been a feeling of surprise
|
||
|
that Bathsheba could be so different from such a one,
|
||
|
and yet so like what a flirt is supposed to be.
|
||
|
She resolved never again, by look or by sign, to
|
||
|
interrupt the steady flow of this man's life. But a
|
||
|
resolution to avoid an evil is seldom framed till the evil
|
||
|
is so far advanced as to make avoidance impossible.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XIX
|
||
|
|
||
|
|
||
|
|
||
|
THE SHEEP-WASHING -- THE OFFER
|
||
|
|
||
|
|
||
|
BOLDWOOD did eventually call upon her. She was
|
||
|
not at home. "Of course not." he murmured. In con-
|
||
|
templating Bathsheba as a woman, he had forgotten the
|
||
|
accidents of her position as an agriculturist -- that being
|
||
|
as much of a farmer, and as extensive a farmer, as
|
||
|
himself, her probable whereabouts was out-of-doors at
|
||
|
this time of the year. This, and the other oversights
|
||
|
Boldwood was guilty of, were natural to the mood, and
|
||
|
still more natural to the circumstances. The great aids
|
||
|
to idealization in love were present here: occasional
|
||
|
observation of her from a distance, and the absence of
|
||
|
social intercourse with her -- visual familiarity, oral
|
||
|
strangeness. The smaller human elements were kept
|
||
|
out of sight; the pettinesses that enter so largely into
|
||
|
all earthly living and doing were disguised by the
|
||
|
accident of lover and loved-one not being on visiting
|
||
|
terms; and there was hardly awakened a thought in
|
||
|
Boldwood that sorry household realities appertained to
|
||
|
her, or that she, like all others, had moments of
|
||
|
commonplace, when to be least plainly seen was to be
|
||
|
most prettily remembered. Thus a mild sort of
|
||
|
apotheosis took place in his fancy, whilst she still lived
|
||
|
and breathed within his own horizon, a troubled creature
|
||
|
like himself.
|
||
|
It was the end of May when the farmer determined
|
||
|
to be no longer repulsed by trivialities or distracted by
|
||
|
suspense. He had by this time grown used to being in
|
||
|
love; the passion now startled him less even when it
|
||
|
tortured him more, and he felt himself adequate to the
|
||
|
situation. On inquiring for her at her house they had
|
||
|
told him she was at the sheepwashing, and he went off
|
||
|
to seek her there.
|
||
|
The sheep-washing pool was a perfectly circular basin
|
||
|
of brickwork in the meadows, full of the clearest water.
|
||
|
To birds on the wing its glassy surface, reflecting the
|
||
|
light sky, must have been visible for miles around as a
|
||
|
glistening Cyclops' eye in a green face. The grass
|
||
|
about the margin at this season was a sight to remember
|
||
|
long -- in a minor sort of way. Its activity in sucking
|
||
|
the moisture from the rich damp sod. was almost a pro-
|
||
|
cess observable by the eye. The outskirts of this level
|
||
|
water-meadow were diversified by rounded and hollow
|
||
|
pastures, where just now every flower that was not a
|
||
|
buttercup was a daisy. The river slid along noiselessly
|
||
|
as a shade, the swelling reeds and sedge forming a
|
||
|
flexible palisade upon its moist brink. To the north
|
||
|
of the mead were trees, the leaves of which were new,
|
||
|
soft, and moist, not yet having stiffened and darkened
|
||
|
under summer sun and drought, their colour being
|
||
|
yellow beside a green -- green beside a yellow.
|
||
|
From the recesses of this knot of foliage the loud
|
||
|
notes of three cuckoos were resounding through the
|
||
|
still air.
|
||
|
Boldwood went meditating down the slopes with his
|
||
|
eyes on his boots, which the yellow pollen from the
|
||
|
buttercups had bronzed in artistic gradations. A tribu-
|
||
|
tary of the main stream flowed through the basin of the
|
||
|
pool by an inlet and outlet at opposite points of its
|
||
|
diameter. Shepherd Oak, Jan Coggan, Moon, Poor-
|
||
|
grass, Cain Ball, and several others were assembled
|
||
|
here, all dripping wet to the very roots of their hair,
|
||
|
and Bathsheba was standing by in a new riding-habit --
|
||
|
the most elegant she had ever worn -- the reins of her
|
||
|
horse being looped over her arm. Flagons of cider
|
||
|
were rolling about upon the green. The meek sheep
|
||
|
were pushed into the pool by Coggan and Matthew
|
||
|
Moon, who stood by the lower hatch, immersed to their
|
||
|
waists; then Gabriel, who stood on the brink, thrust
|
||
|
them under as they swam along, with an instrument
|
||
|
like a crutch, formed for the purpose, and also for
|
||
|
assisting the exhausted animals when the wool became
|
||
|
saturated and they began to sink. They were let out
|
||
|
against the stream, and through the upper opening, all
|
||
|
impurities flowing away below. Cainy Ball and Joseph,
|
||
|
who performed this latter operation, were if possible
|
||
|
wetter than the rest; they resembled dolphins under a
|
||
|
fountain, every protuberance and angle of their clothes
|
||
|
dribbling forth a small rill.
|
||
|
Boldwood came close and bade her good-morning, with
|
||
|
such constraint that she could not but think he had
|
||
|
stepped across to the washing for its own sake, hoping
|
||
|
not to find her there; more, she fancied his brow severe
|
||
|
and his eye slighting. Bathsheba immediately contrived
|
||
|
to withdraw, and glided along by the river till she was
|
||
|
a stone's throw off. She heard footsteps brushing the
|
||
|
grass, and had a consciousness that love was encircling
|
||
|
her like a perfume. Instead of turning or waiting,
|
||
|
Bathsheba went further among the high sedges, but
|
||
|
Boldwood seemed determined, and pressed on till they
|
||
|
were completely past the bend of the river. Here,
|
||
|
without being seen, they could hear the splashing and
|
||
|
shouts of the washers above.
|
||
|
"Miss Everdene!" said the farmer.
|
||
|
She trembled, turned, and said "Good morning."
|
||
|
His tone was so utterly removed from all she had
|
||
|
expected as a beginning. It was lowness and quiet
|
||
|
accentuated: an emphasis of deep meanings, their form,
|
||
|
at the same time, being scarcely expressed. Silence
|
||
|
has sometimes a remarkable power of showing itself as
|
||
|
the disembodied soul of feeling wandering without its
|
||
|
carcase, and it is then more impressive than speech.
|
||
|
In the same way, to say a little is often to tell more
|
||
|
than to say a great deal. Boldwood told everything in
|
||
|
that word.
|
||
|
As the consciousness expands on learning that what
|
||
|
was fancied to be the rumble of wheels is the reverbera-
|
||
|
tion of thunder, so did Bathsheba's at her intuitive
|
||
|
conviction.
|
||
|
"I feel -- almost too much -- to think." he said, with a
|
||
|
solemn simplicity. "I have come to speak to you with-
|
||
|
out preface. My life is not my own since I have beheld
|
||
|
you clearly, Miss Everdene -- I come to make you an
|
||
|
offer of marriage."
|
||
|
Bathsheba tried to preserve an absolutely neutral
|
||
|
countenance, and all the motion she made was that of
|
||
|
closing lips which had previously been a little parted.
|
||
|
"I am now forty-one years old." he went on. "I may
|
||
|
have been called a confirmed bachelor, and I was a
|
||
|
confirmed bachelor. I had never any views of myself
|
||
|
as a husband in my earlier days, nor have I made any
|
||
|
calculation on the subject since I have been older.
|
||
|
But we all change, and my change, in this matter, came
|
||
|
with seeing you. I have felt lately, more and more,
|
||
|
that my present way of living is bad in every respect.
|
||
|
Beyond all things, I want you as my wife."
|
||
|
"I feel, Mr. Boldwood, that though I respect you
|
||
|
much, I do not feel -- what would justify me to -- in
|
||
|
accepting your offer." she stammered.
|
||
|
This giving back of dignity for dignity seemed to
|
||
|
open the sluices of feeling that Boldwood had as yet
|
||
|
kept closed.
|
||
|
"My life is a burden without you." he exclaimed, in
|
||
|
a low voice. "I want you -- I want you to let me say
|
||
|
I love you again and again!"
|
||
|
Bathsheba answered nothing, and the mare upon
|
||
|
her arm seemed so impressed that instead of cropping
|
||
|
the herbage she looked up.
|
||
|
"I think and hope you care enough for me to listen
|
||
|
to what I have to tell!"
|
||
|
Bathsheba's momentary impulse at hearing this was
|
||
|
to ask why he thought that, till she remembered that,
|
||
|
far from being a conceited assumption on Boldwood's
|
||
|
part, it was but the natural conclusion of serious reflec-
|
||
|
tion based on deceptive premises of her own offering.
|
||
|
"I wish I could say courteous flatteries to you." the
|
||
|
farmer continued in an easier tone, " and put my rugged
|
||
|
feeling into a graceful shape: but I have neither power
|
||
|
nor patience to learn such things. I want you for my
|
||
|
wife -- so wildly that no other feeling can abide in me;
|
||
|
but I should not have spoken out had I not been led
|
||
|
to hope."
|
||
|
The valentine again! O that valentine!" she
|
||
|
said to herself, but not a word to him.
|
||
|
"If you can love me say so, Miss Everdene. If not
|
||
|
-- don't say no!"
|
||
|
"Mr. Boldwood, it is painful to have to say I am
|
||
|
surprised, so that I don't know how to answer you with
|
||
|
propriety and respect -- but am only just able to speak
|
||
|
out my feeling -- I mean my meaning; that I am afraid
|
||
|
I can't marry you, much as I respect you. You are too
|
||
|
dignified for me to suit you, sir."
|
||
|
"But, Miss Everdene!"
|
||
|
"I -- I didn't -- I know I ought never to have dreamt
|
||
|
of sending that valentine -- forgive me, sir -- it was a
|
||
|
wanton thing which no woman with any self-respect
|
||
|
should have done. If you will only pardon my thought-
|
||
|
lessness, I promise never to -- -- "
|
||
|
"No, no, no. Don't say thoughtlessness! Make me
|
||
|
think it was something more -- that it was a sort of
|
||
|
prophetic instinct -- the beginning of a feeling that you
|
||
|
would like me. You torture me to say it was done in
|
||
|
thoughtlessness -- I never thought of it in that light, and
|
||
|
I can't endure it. Ah! I wish I knew how to win you!
|
||
|
but that I can't do -- I can only ask if I have already got
|
||
|
you. If I have not, and it is not true that you have
|
||
|
come unwittingly to me as I have to you, I can say no
|
||
|
more."
|
||
|
"I have not fallen in love with you, Mr. Boldwood --
|
||
|
certainly I must say that." She allowed a very small
|
||
|
smile to creep for the first time over her serious face in
|
||
|
saying this, and the white row of upper teeth, and keenly-
|
||
|
cut lips already noticed, suggested an idea of heartless-
|
||
|
ness, which was immediately contradicted by the pleasant
|
||
|
eyes.
|
||
|
"But you will just think -- in kindness and conde-
|
||
|
scension think -- if you cannot bear with me as a husband!
|
||
|
I fear I am too old for you, but believe me I will take
|
||
|
more care of you than would many a man of your own
|
||
|
age. I will protect and cherish you with all my strength
|
||
|
-- I will indeed! You shall have no cares -- be worried
|
||
|
by no household affairs, and live quite at ease, Miss
|
||
|
Everdene. The dairy superintendence shall be done by
|
||
|
a man -- I can afford it will -- you shall never have so
|
||
|
much as to look out of doors at haymaking time, or to
|
||
|
think of weather in the harvest. I rather cling; to the
|
||
|
chaise, because it is he same my poor father and mother
|
||
|
drove, but if you don't like it I will sell it, and you shall
|
||
|
have a pony-carriage of your own. I cannot say how
|
||
|
far above every other idea and object on earth you seem
|
||
|
to me -- nobody knows -- God only knows -- how much
|
||
|
you are to me!"
|
||
|
Bathsheba's heart was young, and it swelled with
|
||
|
sympathy for the deep-natured man who spoke so
|
||
|
simply.
|
||
|
"Don't say it! don't! I cannot bear you to feel so
|
||
|
much, and me to feel nothing. And I am afraid they
|
||
|
will notice us, Mr. Boldwood. Will you let the matter
|
||
|
rest now? I cannot think collectedly. I did not know
|
||
|
you were going to say this to me. O, I am wicked to
|
||
|
have made you suffer so!" She was frightened as well
|
||
|
as agitated at his vehemence.
|
||
|
"Say then, that you don't absolutely refuse. Do not
|
||
|
quite refuse?"
|
||
|
"I can do nothing. I cannot answer."I may speak to you again on the
|
||
|
subject?"
|
||
|
"Yes."
|
||
|
"I may think of you?"
|
||
|
"Yes, I suppose you may think of me."
|
||
|
"And hope to obtain you?"
|
||
|
"No -- do not hope! Let us go on."
|
||
|
"I will call upon you again to-morrow."
|
||
|
"No -- please not. Give me time."
|
||
|
"Yes -- I will give you any time." he said earnestly and
|
||
|
gratefully. "I am happier now."
|
||
|
"No -- I beg you! Don't be happier if happiness
|
||
|
only comes from my agreeing. Be neutral, Mr. Bold-
|
||
|
wood! I must think."
|
||
|
"I will wait." he said.
|
||
|
And then she turned away. Boldwood dropped his
|
||
|
gaze to the ground, and stood long like a man who did not
|
||
|
know where he was. Realities then returned upon him
|
||
|
like the pain of a wound received in an excitement
|
||
|
which eclipses it, and he, too, then went on.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XX
|
||
|
|
||
|
|
||
|
|
||
|
PERPLEXITY -- GRINDING THE SHEARS -- A QUARREL
|
||
|
|
||
|
|
||
|
"HE is so disinterested and kind to offer me all that I
|
||
|
can desire." Bathsheba mused.
|
||
|
Yet Farmer Boldwood, whether by nature kind or
|
||
|
the reverse to kind, did not exercise kindness, here.
|
||
|
The rarest offerings of the purest loves are but a self-
|
||
|
indulgence, and no generosity at all.
|
||
|
Bathsheba, not being the least in love with him, was
|
||
|
eventually able to look calmly at his offer. It was one
|
||
|
which many women of her own station in the neighbour-
|
||
|
hood, and not a few of higher rank, would have been
|
||
|
wild to accept and proud to publish. In every point of
|
||
|
view, ranging from politic to passionate, it was desirable
|
||
|
that she, a lonely girl, should marry, and marry this
|
||
|
earnest, well-to-do, and respected man. He was close
|
||
|
to her doors: his standing was sufficient: his qualities
|
||
|
were even supererogatory. Had she felt, which she did
|
||
|
not, any wish whatever for the married state in the
|
||
|
abstract, she could not reasonably have rejected him,
|
||
|
being a woman who frequently appealed to her under,
|
||
|
standing for deliverance from her whims. Boldwood as
|
||
|
a means to marriage was unexceptionable: she esteemed
|
||
|
and liked him, yet she did not want him. It appears
|
||
|
that ordinary men take wives because possession is not
|
||
|
possible without marriage, and that ordinary women
|
||
|
accept husbands because marriage is not possible with,
|
||
|
out possession; with totally differing aims the method is
|
||
|
the same on both sides. But the understood incentive
|
||
|
on the woman's part was wanting here. Besides, Bath-
|
||
|
sheba's position as absolute mistress of a farm and house
|
||
|
was a novel one, and the novelty had not yet begun to
|
||
|
wear off.
|
||
|
But a disquiet filled her which was somewhat to her
|
||
|
credit, for it would have affected few. Beyond the men-
|
||
|
tioned reasons with which she combated her objections,
|
||
|
she had a strong feeling that, having been the one who
|
||
|
began the game, she ought in honesty to accept the conse-
|
||
|
quences. Still the reluctance remained. She said in the
|
||
|
same breath that it would be ungenerous not to marry
|
||
|
Boldwood, and that she couldn't do it to save her life.
|
||
|
Bathsheba's was an impulsive nature under a delibera-
|
||
|
tive aspect. An Elizabeth in brain and a Mary Stuart
|
||
|
in spirit, she often performed actions of the greatest
|
||
|
temerity with a manner of extreme discretion. Many of
|
||
|
her thoughts were perfect syllogisms; unluckily they
|
||
|
always remained thoughts. Only a few were irrational
|
||
|
assumptions; but, unfortunately, they were the ones
|
||
|
which most frequently grew into deeds.
|
||
|
The next day to that of the declaration she found
|
||
|
Gabriel Oak at the bottom of her garden, grinding his
|
||
|
shears for the sheep-shearing. All the surrounding
|
||
|
cottages were more or less scenes of the same operation;
|
||
|
the scurr of whetting spread into the sky from all parts
|
||
|
of the village as from an armury previous to a campaign.
|
||
|
Peace and war kiss each other at their hours of prepara-
|
||
|
tion -- sickles, scythes, shears, and pruning-hooks, ranking
|
||
|
with swords, bayonets, and lances, in their common
|
||
|
necessity for point and edge.
|
||
|
Cainy Ball turned the handle of Gabriel's grindstone,
|
||
|
his head performing a melancholy see-saw up and down
|
||
|
with each turn of the wheel. Oak stood somewhat as
|
||
|
Eros is represented when in the act of sharpening his
|
||
|
arrows: his figure slightly bent, the weight of his body
|
||
|
thrown over on the shears, and his head balanced side-
|
||
|
ways, with a critical compression of the lips and contrac-
|
||
|
tion of the eyelids to crown the attitude.
|
||
|
His mistress came up and looked upon them in
|
||
|
silence for a minute or two; then she said --
|
||
|
"Cain, go to the lower mead and catch the bay mare.
|
||
|
I'll turn the winch of the grindstone. I want to speak
|
||
|
to you, Gabriel.
|
||
|
Cain departed, and Bathsheba took the handle.
|
||
|
Gabriel had glanced up in intense surprise, quelled its
|
||
|
expression, and looked down again. Bathsheba turned
|
||
|
the winch, and Gabriel applied the shears.
|
||
|
The peculiar motion involved in turning a wheel
|
||
|
has a wonderful tendency to benumb the mind. It
|
||
|
is a sort of attenuated variety of Ixion's punishment,
|
||
|
and contributes a dismal chapter to the history of
|
||
|
heavy, and the body's centre of gravity seems to
|
||
|
settle by degrees in a leaden lump somewhere be-
|
||
|
tween the eyebrows and the crown. Bathsheba felt
|
||
|
the unpleasant symptoms after two or three dozen
|
||
|
turns.
|
||
|
"Will you turn, Gabriel, and let me hold the shears?"
|
||
|
she said. "My head is in a'whirl, and I can't talk.
|
||
|
Gabriel turned. Bathsheba then began, with some
|
||
|
awkwardness, allowing her thoughts to stray occasion-
|
||
|
ally from her story to attend to the shears, which
|
||
|
required a little nicety in sharpening.
|
||
|
"I wanted to ask you if the men made any observa-
|
||
|
tions on my going behind the sedge with Mr. Boldwood
|
||
|
yesterday?"
|
||
|
"Yes, they did." said Gabriel. "You don't hold
|
||
|
the shears right, miss -- I knew you wouldn't know the
|
||
|
way -- hold like this."
|
||
|
He relinquished the winch, and inclosing her two
|
||
|
hands completely in his own (taking each as we some-
|
||
|
times slap a child's hand in teaching him to write),
|
||
|
grasped the shears with her. "Incline the edge so,"
|
||
|
he said.
|
||
|
Hands and shears were inclined to suit the words,
|
||
|
and held thus for a peculiarly long time by the in-
|
||
|
structor as he spoke.
|
||
|
"That will do." exclaimed Bathsheba. "Loose my
|
||
|
hands. I won't have them held! Turn the winch."
|
||
|
Gabriel freed her hands quietly, retired to his
|
||
|
handle, and the grinding went on.
|
||
|
"Did the men think it odd?" she said again.
|
||
|
"Odd was not the idea, miss."
|
||
|
"What did they say?"
|
||
|
"That Farmer Boldwood's name and your own
|
||
|
were likely to be flung over pulpit together before the
|
||
|
year was out."
|
||
|
"I thought so by the look of them! Why, there's
|
||
|
nothing in it. A more foolish remark was never made,
|
||
|
and I want you to contradict it! that's what I came for."
|
||
|
Gabriel looked incredulous and sad, but between
|
||
|
his moments of incredulity, relieved.
|
||
|
"They must have heard our conversation." she
|
||
|
continued.
|
||
|
"Well, then, Bathsheba!" said Oak, stopping the
|
||
|
handle, and gazing into her face with astonishment.
|
||
|
"Miss Everdene, you mean," she said, with dignity.
|
||
|
"I mean this, that if Mr. Boldwood really spoke of
|
||
|
marriage, I bain't going to tell a story and say he
|
||
|
didn't to please you. I have already tried to please
|
||
|
you too much for my own good!"
|
||
|
Bathsheba regarded him with round-eyed perplexity.
|
||
|
She did not know whether to pity him for disappointed
|
||
|
love of her, or to be angry with him for having got
|
||
|
over it -- his tone being ambiguous.
|
||
|
"I said I wanted you just to mention that it was
|
||
|
not true I was going to be married to him." she mur-
|
||
|
mured, with a slight decline in her assurance.
|
||
|
"I can say that to them if you wish, Miss Everdene.
|
||
|
And I could likewise give an opinion to 'ee on what
|
||
|
you have done."
|
||
|
"I daresay. But I don't want your opinion."I suppose not." said Gabriel
|
||
|
bitterly, and going on
|
||
|
with his turning, his words rising and falling in a
|
||
|
regular swell and cadence as he stooped or rose with
|
||
|
the winch, which directed them, according to his
|
||
|
position, perpendicularly into the earth, or horizontally
|
||
|
along the garden, his eyes being fixed on a leaf upon
|
||
|
the ground.
|
||
|
With Bathsheba a hastened act was a rash act;
|
||
|
but, as does not always happen, time gained was
|
||
|
prudence insured. It must be added, however, that
|
||
|
time was very seldom gained. At this period the
|
||
|
single opinion in the parish on herself and her doings
|
||
|
that she valued as sounder than her own was Gabriel
|
||
|
Oak's. And the outspoken honesty of his character
|
||
|
was such- that on any subject even that of her love
|
||
|
for, or marriage with, another man, the same disinter-
|
||
|
estedness of opinion might be calculated on, and be
|
||
|
had for the asking. Thoroughly convinced of the
|
||
|
impossibility of his own suit, a high resolve constrained
|
||
|
him not to injure that of another. This is a lover's
|
||
|
most stoical virtue, as the lack of it is a lover's most
|
||
|
venial sin. Knowing he would reply truly, she asked
|
||
|
the question, painful as she must have known the sub-
|
||
|
ject would be. Such is the selfishness of some charm-
|
||
|
ing women. Perhaps it was some excuse for her thus
|
||
|
torturing honesty to her own advantage, that she had
|
||
|
absolutely no other sound judgment within easy reach.
|
||
|
"Well, what is your opinion of my conduct." she
|
||
|
said, quietly.
|
||
|
"That it is unworthy of any thoughtful, and meek,
|
||
|
and comely woman."
|
||
|
In an instant Bathsheba's face coloured with the
|
||
|
angry crimson of a danby sunset. But she forbore
|
||
|
to utter this feeling, and the reticence of her tongue
|
||
|
only made the loquacity of her face the more notice-
|
||
|
able.
|
||
|
The next thing Gabriel did was to make a mistake.
|
||
|
"Perhaps you don't like the rudeness of my repri-
|
||
|
manding you, for I know it is rudeness; but I thought
|
||
|
it would do good."
|
||
|
She instantly replied sarcastically --
|
||
|
"On the contrary, my opinion of you is so low, that
|
||
|
I see in your abuse the praise of discerning people!"
|
||
|
"I am glad you don't mind it, for I said it honestly
|
||
|
and with every serious meaning."
|
||
|
"I see. But, unfortunately, when you try not to
|
||
|
speak in jest you are amusing -- just as when you wish
|
||
|
to avoid seriousness you sometimes say a sensible word
|
||
|
It was a hard hit, but Bathsheba had unmistakably
|
||
|
lost her temper, and on that account Gabriel had
|
||
|
never in his life kept his own better. He said nothing.
|
||
|
She then broke out --
|
||
|
"I may ask, I suppose, where in particular my
|
||
|
unworthiness lies? In my not marrying you, perhaps!
|
||
|
"Not by any means." said Gabriel quietly. "I have
|
||
|
long given up thinking of that matter."Or wishing it, I suppose." she
|
||
|
said; and it was
|
||
|
apparent that she expected an unhesitating denial of
|
||
|
this supposition.
|
||
|
Whatever Gabriel felt, he coolly echoed her words --
|
||
|
"Or wishing it either."
|
||
|
A woman may be treated with a bitterness which
|
||
|
is sweet to her, and with a rudeness which is not
|
||
|
offensive. Bathsheba would have submitted to an
|
||
|
indignant chastisement for her levity had Gabriel pro-
|
||
|
tested that he was loving her at the same time; the
|
||
|
impetuosity of passion unrequited is bearable, even if
|
||
|
it stings and anathematizes there is a triumph in the
|
||
|
humiliation, and a tenderness in the strife. This was
|
||
|
what she had been expecting, and what she had not
|
||
|
got. To be lectured because the lecturer saw her in
|
||
|
the cold morning light of open-shuttered disillusion
|
||
|
was exasperating. He had not finished, either. He
|
||
|
continued in a more agitated voice: --
|
||
|
"My opinion is (since you ask it) that you are
|
||
|
greatly to blame for playing pranks upon a man like
|
||
|
Mr. Boldwood, merely as a pastime. Leading on a
|
||
|
man you don't care for is not a praiseworthy action.
|
||
|
And even, Miss Everdene, if you seriously inclined
|
||
|
towards him, you might have let him find it out in
|
||
|
some way of true loving-kindness, and not by sending
|
||
|
him a valentine's letter."
|
||
|
Bathsheba laid down the shears.
|
||
|
"I cannot allow any man to -- to criticise my private
|
||
|
Conduct!" she exclaimed. "Nor will I for a minute.
|
||
|
So you'll please leave the farm at the end of the week!"
|
||
|
It may have been a peculiarity -- at any rate it was
|
||
|
a fact -- that when Bathsheba was swayed by an emotion
|
||
|
of an earthly sort her lower lip trembled: when by a
|
||
|
refined emotion, her upper or heavenward one. Her
|
||
|
nether lip quivered now.
|
||
|
"Very well, so I will." said Gabriel calmly. He had
|
||
|
been held to her by a beautiful thread which it pained
|
||
|
him to spoil by breaking, rather than by a chain he
|
||
|
could not break. "I should be even better pleased to
|
||
|
go at once." he added.
|
||
|
"Go at once then, in Heaven's name!" said she,her
|
||
|
eyes flashing at his, though never meeting them.
|
||
|
"Don't let me see your face any more."
|
||
|
"Very well, Miss Everdene -- so it shall be."
|
||
|
And he took his shears and went away from her in
|
||
|
placid dignity, as Moses left the presence of Pharaoh.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXI
|
||
|
|
||
|
|
||
|
|
||
|
TROUBLES IN THE FOLD -- A MESSAGE
|
||
|
|
||
|
|
||
|
GABRIEL OAK had ceased to feed the Weatherbury
|
||
|
flock for about four-and-twenty hours, when on Sunday
|
||
|
afternoon the elderly gentlemen Joseph Poorgrass,
|
||
|
Matthew Moon, Fray, and half-a-dozen others, came
|
||
|
running up to the house of the mistress of the Upper
|
||
|
Farm.
|
||
|
"Whatever is the matter, men?" she said, meeting
|
||
|
them at the door just as she was coming out on her
|
||
|
way to church, and ceasing in a moment from the close
|
||
|
compression of her two red lips, with which she had
|
||
|
accompanied the exertion of pulling on a tight glove.
|
||
|
"Sixty!" said Joseph Poorgrass.
|
||
|
"Seventy!" said Moon.
|
||
|
"Fifty-nine!" said Susan Tall's husband.
|
||
|
"-- Sheep have broke fence." said Fray.
|
||
|
"-- And got into a field of young clover." said Tall.
|
||
|
"-- Young clover!" said Moon.
|
||
|
"-- Clover!" said Joseph Poorgrass.
|
||
|
"And they be getting blasted." said Henery Fray.
|
||
|
"That they be." said Joseph.
|
||
|
"And will all die as dead as nits, if they bain't got
|
||
|
out and cured!"said Tall.
|
||
|
Joseph's countenance was drawn into lines and
|
||
|
puckers by his concern. Fray's forehead was wrinkled
|
||
|
both perpendicularly and crosswise, after the pattern of
|
||
|
a portcullis, expressive of a double despair. Laban
|
||
|
Tall's lips were thin, and his face were rigid. Matthew's
|
||
|
jaws sank, and his eyes turned whichever way the
|
||
|
strongest muscle happened to pull them.
|
||
|
"Yes." said Joseph, "and I was sitting at home,
|
||
|
looking for Ephesians, and says I to myself, "'Tis
|
||
|
nothing but Corinthians and Thessalonians in this
|
||
|
danged Testament." when who should come in but
|
||
|
Henery there: "Joseph," he said, "the sheep have
|
||
|
With Bathsheba it was a moment when thought was
|
||
|
blasted theirselves -- "
|
||
|
With Bathsheba it was a moment when thought was
|
||
|
speech and speech exclamation. Moreover, she had
|
||
|
hardly recovered her equanimity since the disturbance
|
||
|
which she had suffered from Oak's remarks.
|
||
|
"That's enought -- that's enough! -- oh, you fools!"
|
||
|
she cried, throwing the parasol and Prayer-book into
|
||
|
the passage, and running out of doors in the direction
|
||
|
signified. "To come to me, and not go and get them
|
||
|
out directly! Oh, the stupid numskulls!"
|
||
|
Her eyes were at their darkest and brightest now.
|
||
|
Bathsheba's beauty belonged rather to the demonian
|
||
|
than to the angelic school, she never looked so well as
|
||
|
when she was angry -- and particularly when the effect
|
||
|
was heightened by a rather dashing velvet dress, care-
|
||
|
fully put on before a glass.
|
||
|
All the ancient men ran in a jumbled throng after
|
||
|
her to the clover-field, Joseph sinking down in the
|
||
|
midst when about half-way, like an individual withering
|
||
|
in a world which was more and more insupportable.
|
||
|
Having once received the stimulus that her presence
|
||
|
always gave them they went round among the sheep
|
||
|
with a will. The majority of the afflicted animals were
|
||
|
lying down, and could not be stirred. These were
|
||
|
bodily lifted out, and the others driven into the adjoining
|
||
|
field. Here, after the lapse of a few minutes, several
|
||
|
more fell down, and lay helpless and livid as the rest.
|
||
|
Bathsheba, with a sad, bursting heart, looked at these
|
||
|
primest specimens of her prime flock as they rolled
|
||
|
there --
|
||
|
Swoln with wind and the rank mist they drew.
|
||
|
Many of them foamed at the mouth, their breathing
|
||
|
being quick and short, whilst the bodies of all were
|
||
|
fearfully distended.
|
||
|
"O, what can I do, what can I do!" said Bathsheba,
|
||
|
helplessly. "Sheep are such unfortunate animals! --
|
||
|
there's always something happening to them! I never
|
||
|
knew a flock pass a year without getting into some scrape
|
||
|
or other."
|
||
|
"There's only one way of saving them." said Tall.
|
||
|
"What way? Tell me quick!"
|
||
|
"They must be pierced in the side with a thing made
|
||
|
on purpose."
|
||
|
"Can you do it? Can I?"
|
||
|
"No, ma'am. We can't, nor you neither. It must
|
||
|
be done in a particular spot. If ye go to the right or
|
||
|
left but an inch you stab the ewe and kill her. Not
|
||
|
even a shepherd can do it, as a rule."
|
||
|
"Then they must die." she said, in a resigned tone.
|
||
|
"Only one man in the neighbourhood knows the way,"
|
||
|
said Joseph, now just come up. "He could cure 'em
|
||
|
all if he were here."
|
||
|
"Who is he? Let's get him!"
|
||
|
"Shepherd Oak," said Matthew. "Ah, he's a clever
|
||
|
man in talents!"
|
||
|
"Ah, that he is so!" said Joseph Poorgrass.
|
||
|
"True -- he's the man." said Laban Tall.
|
||
|
"How dare you name that man in my presence!" she
|
||
|
said excitedly. "I told you never to allude to him, nor
|
||
|
shall you if you stay with me. Ah!" she added, brighten-
|
||
|
ing, "Farmer Boldwood knows!"
|
||
|
"O no, ma'am" said Matthew. "Two of his store
|
||
|
ewes got into some vetches t'other day, and were just
|
||
|
like these. He sent a man on horseback here post-haste
|
||
|
for Gable, and Gable went and saved 'em, Farmer
|
||
|
Boldwood hev got the thing they do it with. 'Tis a
|
||
|
holler pipe, with a sharp pricker inside. Isn't it,
|
||
|
Joseph?"
|
||
|
"Ay -- a holler pipe." echoed Joseph. "That's what
|
||
|
'tis."
|
||
|
"Ay, sure -- that's the machine." chimed in Henery
|
||
|
Fray, reflectively, with an Oriental indifference to the
|
||
|
flight of time.
|
||
|
"Well," burst out Bathsheba, "don't stand there with
|
||
|
your "ayes" and your "sures" talking at me! Get
|
||
|
somebody to cure the sheep instantly!"
|
||
|
All then stalked or in consternation, to get some-
|
||
|
body as directed, without any idea of who it was to be.
|
||
|
In a minute they had vanished through the gate, and
|
||
|
she stood alone with the dying flock.
|
||
|
"Never will I send for him never!" she said firmly.
|
||
|
One of the ewes here contracted its muscles horribly,
|
||
|
extended itself, and jumped high into the air. The
|
||
|
leap was an astonishing one. The ewe fell heavily, and
|
||
|
lay still.
|
||
|
Bathsheba went up to it. The sheep was dead.
|
||
|
"O, what shall I do -- what shall I do!" she again
|
||
|
exclaimed, wringing her hands. "I won't send for him.
|
||
|
No, I won't!"
|
||
|
The most vigorous expression of a resolution does
|
||
|
not always coincide with the greatest vigour of the
|
||
|
resolution itself. It is often flung out as a sort of prop
|
||
|
to support a decaying conviction which, whilst strong,
|
||
|
required no enunciation to prove it so. The "No, I
|
||
|
won't" of Bathsheba meant virtually, "I think I must."
|
||
|
She followed her assistants through the gate, and
|
||
|
lifted her hand to one of them. Laban answered to her
|
||
|
signal.
|
||
|
"Where is Oak staying?"
|
||
|
"Across the valley at Nest Cottage!"
|
||
|
"Jump on the bay mare, and ride across, and say he
|
||
|
must return instantly -- that I say so."
|
||
|
Tall scrambled off to the field, and in two minutes
|
||
|
was on Poll, the bay, bare-backed, and with only a
|
||
|
halter by way of rein. He diminished down the
|
||
|
hill.
|
||
|
Bathsheba watched. So did all the rest. Tall
|
||
|
cantered along the bridle-path through Sixteen Acres,
|
||
|
Sheeplands, Middle Field The Flats, Cappel's Piece,
|
||
|
shrank almost to a point, crossed the bridge, and
|
||
|
ascended from the valley through Springmead and
|
||
|
Whitepits on the other side. The cottage to which
|
||
|
Gabriel had retired before taking his final departure
|
||
|
from the locality was visible as a white spot on the
|
||
|
opposite hill, backed by blue firs. Bathsheba walked
|
||
|
up and down. The men entered the field and
|
||
|
endeavoured to ease the anguish of the dumb creatures
|
||
|
by rubbing them. Nothing availed.
|
||
|
Bathsheba continued walking. The horse was seen
|
||
|
descending the hill, and the wearisome series had to be
|
||
|
repeated in reverse order: Whitepits, Springmead,
|
||
|
Cappel's Piece, The Flats, Middle Field, Sheeplands,
|
||
|
Sixteen Acres. She hoped Tall had had presence of
|
||
|
mind enough to give the mare up to Gabriel, and return
|
||
|
himself on foot. The rider neared them. It was Tall.
|
||
|
"O, what folly!" said Bathsheba.
|
||
|
Gabriel was not visible anywhere.
|
||
|
"Perhaps he is already gone!" she said.
|
||
|
Tall came into the inclosure, and leapt off, his face
|
||
|
tragic as Morton's after the battle of Shrewsbury.
|
||
|
"Well?" said Bathsheba, unwilling to believe that
|
||
|
her verbal lettre-de-cachet could possibly have miscarried.
|
||
|
"He says beggars mustn't be choosers." replied Laban.
|
||
|
"What!" said the young farmer, opening her eyes
|
||
|
and drawing in her breath for an outburst. Joseph
|
||
|
Poorgrass retired a few steps behind a hurdle.
|
||
|
"He says he shall not come unless you request en
|
||
|
to come civilly and in a proper manner, as becomes any
|
||
|
"woman begging a favour."
|
||
|
"Oh, oh, that's his answer! Where does he get his
|
||
|
airs? Who am I, then, to be treated like that? Shall
|
||
|
I beg to a man who has begged to me?"
|
||
|
Another of the flock sprang into the air, and fell
|
||
|
dead.
|
||
|
The men looked grave, as if they suppressed opinion.
|
||
|
Bathsheba turned aside, her eyes full of tears. The
|
||
|
strait she was in through pride and shrewishness could
|
||
|
not be disguised longer: she burst out crying bitterly;
|
||
|
they all saw it; and she attempted no further concealment.
|
||
|
"I wouldn't cry about it, miss." said William Small-
|
||
|
bury, compassionately. "Why not ask him softer like?
|
||
|
I'm sure he'd come then. Gable is a true man in that
|
||
|
way."
|
||
|
Bathsheba checked her grief and wiped her eyes.
|
||
|
"O, it is a wicked cruelty to me -- it is -- it is!" she
|
||
|
murmured. "And he drives me to do what I wouldn't;
|
||
|
yes, he does! -- Tall, come indoors."
|
||
|
After this collapse, not very dignified for the head
|
||
|
of an establishment, she went into the house, Tall at
|
||
|
her heels. Here she sat down and hastily scribbled a
|
||
|
note between the small convulsive sobs of convalescence
|
||
|
which follow a fit of crying as a ground-swell follows a
|
||
|
storm. The note was none the less polite for being
|
||
|
written in a hurry. She held it at a distance, was
|
||
|
about to fold it, then added these words at the
|
||
|
bottom: --
|
||
|
"Do not desert me, Gabriel!"
|
||
|
She looked a little redder in refolding it, and closed
|
||
|
her lips, as if thereby to suspend till too late the action
|
||
|
of conscience in examining whether such strategy were
|
||
|
justifiable. The note was despatched as the message
|
||
|
had been, and Bathsheba waited indoors for the result.
|
||
|
It was an anxious quarter of an hour that intervened
|
||
|
between the messenger's departure and the sound of the
|
||
|
horse's tramp again outside. She- could not watch this
|
||
|
time, but, leaning over the old bureau at which she had
|
||
|
written the letter, closed her eyes, as if to keep out both
|
||
|
hope and fear.
|
||
|
The case, however, was a promising one. Gabriel
|
||
|
was not angry: he was simply neutral, although her first
|
||
|
command had been so haughty. Such imperiousness
|
||
|
would have damned a little less beauty; and on the
|
||
|
other hand, such beauty would have redeemed a little
|
||
|
less imperiousness.
|
||
|
She went out when the horse was heard, and looked
|
||
|
up. A mounted figure passed between her and the
|
||
|
sky, and drew on towards the field of sheep, the rider
|
||
|
turning his face in receding. Gabriel looked at her.
|
||
|
It was a moment when a woman's eyes and tongue tell
|
||
|
distinctly opposite tales. Bathsheba looked full of
|
||
|
gratitude, and she said: --
|
||
|
"O, Gabriel, how could you serve me so unkindly!"
|
||
|
Such a tenderly-shaped reproach for his previous
|
||
|
delay was the one speech in the language that he could
|
||
|
pardon for not being commendation of his readiness
|
||
|
now.
|
||
|
Gabriel murmured a confused reply, and hastened
|
||
|
on. She knew from the look which sentence in her
|
||
|
note had brought him. Bathsheba followed to the
|
||
|
field.
|
||
|
Gabriel was already among the turgid, prostrate forms.
|
||
|
He had flung off his coat, rolled up his shirt-sleeves,
|
||
|
and taken from his pocket the instrument of salvation.
|
||
|
It was a small tube or trochar, with a lance passing
|
||
|
down the inside; and Gabriel began to use it with a
|
||
|
dexterity that would have graced a hospital surgeon.
|
||
|
Passing his hand over the sheep's left flank, and
|
||
|
selecting the proper point, he punctured the skin and
|
||
|
rumen with the lance as it stood in the tube; then he
|
||
|
suddenly withdrew the lance, retaining the tube in its
|
||
|
place. A current of air rushed up the tube, forcible
|
||
|
enough to have extinguished a candle held at the
|
||
|
orifice.
|
||
|
It has been said that mere ease after torment is de-
|
||
|
light for a time; and the countenances of these poor
|
||
|
creatures expressed it now. Forty-nine operations were
|
||
|
successfully performed. Owing to the great hurry
|
||
|
necessitated by the far-gone state of some of the flock,
|
||
|
Gabriel missed his aim in one case, and in one only --
|
||
|
striking wide of the mark, and inflicting a mortal blow
|
||
|
at once upon the suffering ewe. Four had died; three
|
||
|
recovered without an operation. The total number of
|
||
|
sheep which had thus strayed and injured themselves
|
||
|
so dangerously was fifty-seven.
|
||
|
When the love-led man had ceased from his labours,
|
||
|
Bathsheba came and looked him in the face.
|
||
|
"Gabriel, will you stay on with me?" she, said,
|
||
|
smiling winningly, and not troubling to bring her lips
|
||
|
quite together again at the end, because there was going
|
||
|
to be another smile soon.
|
||
|
"I will." said Gabriel.
|
||
|
And she smiled on him again.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXII
|
||
|
|
||
|
|
||
|
|
||
|
THE GREAT BARN AND THE SHEEP-SHEARERS
|
||
|
|
||
|
|
||
|
MEN thin away to insignificance and oblivion quite as
|
||
|
often by not making the most of good spirits when they
|
||
|
have them as by lacking good spirits when they are
|
||
|
indispensable. Gabriel lately, for the first time since
|
||
|
his prostration by misfortune, had been independent in
|
||
|
thought and vigorous in action to a marked extent --
|
||
|
conditions which, powerless without an opportunity as
|
||
|
an opportunity without them is barren, would have
|
||
|
given him a sure lift upwards when the favourable-con-
|
||
|
junction should have occurred. But this incurable
|
||
|
loitering beside Bathsheba Everdene stole his time
|
||
|
ruinously. The spring tides were going by without
|
||
|
floating him off, and the neap might soon come which
|
||
|
could not.
|
||
|
It was the first day of June, and the sheep-shearing
|
||
|
season culminated, the landscape, even to the leanest
|
||
|
pasture, being all health and colour. Every green was
|
||
|
young, every pore was open, and every stalk was swollen
|
||
|
with racing currents of juice. God was palpably present
|
||
|
in the country, and the devil had gone with the world
|
||
|
to town. Flossy catkins of the later kinds, fern-sprouts
|
||
|
like bishops' croziers, the square-headed moschatel, the
|
||
|
odd cuckoo-pint, -- like an apoplectic saint in a niche
|
||
|
of malachite, -- snow-white ladies'-smocks, the toothwort,
|
||
|
approximating to human flesh, the enchanter's night-
|
||
|
shade, and the black-petaled doleful-bells, were among
|
||
|
the quainter objects of the vegetable world in and about
|
||
|
Weatherbury at this teeming time; and of the animal,
|
||
|
the metamorphosed figures of Mr. Jan Coggan, the
|
||
|
master-shearer; the second and third shearers, who
|
||
|
travelled in the exercise of their calling, and do not re-
|
||
|
quire definition by name; Henery Fray the fourth
|
||
|
shearer, Susan Tall's husband the fifth, Joseph Poorgrass
|
||
|
the sixth, young Cain Ball as assistant-shearer, and
|
||
|
Gabriel Oak as general supervisor. None of these were
|
||
|
clothed to any extent worth mentioning, each appearing
|
||
|
to have hit in the matter of raiment the decent mean
|
||
|
between a high and low caste Hindoo. An angularity
|
||
|
of lineament, and a fixity of facial machinery in general,
|
||
|
proclaimed that serious work was the order of the day.
|
||
|
They sheared in the great barn, called for the nonce
|
||
|
the Shearing-barn, which on ground-plan resembled a
|
||
|
church with transepts. It not only emulated the form
|
||
|
of the neighbouring church of the parish, but vied with
|
||
|
it in antiquity. Whether the barn had ever formed one
|
||
|
of a group of conventual buildings nobody seemed to be
|
||
|
aware; no trace of such surroundings remained. The
|
||
|
vast porches at the sides, lofty enough to admit a waggon
|
||
|
laden to its highest with corn in the sheaf, were spanned
|
||
|
by heavy-pointed arches of stone, broadly and boldly cut,
|
||
|
whose very simplicity was the origin of a grandeur not
|
||
|
apparent in erections where more ornament has been
|
||
|
attempted. The dusky, filmed, chestnut roof, braced
|
||
|
and tied in by huge collars, curves, and diagonals, was
|
||
|
far nobler in design, because more wealthy in material,
|
||
|
than nine-tenths of those in our modern churches.
|
||
|
Along each side wall was a range of striding buttresses,
|
||
|
throwing deep shadows on the spaces between them,
|
||
|
which were perforated by lancet openings, combining
|
||
|
in their proportions the precise requirements both of
|
||
|
beauty and ventilation.
|
||
|
One could say about this barn, what could hardly
|
||
|
be said of either the church or the castle, akin to it in
|
||
|
age and style, that the purpose which had dictated its
|
||
|
original erection was the same with that to which it
|
||
|
was still applied. Unlike and superior to either of
|
||
|
those two typical remnants of mediaevalism, the old
|
||
|
barn embodied practices which had suffered no mutila-
|
||
|
tion at the hands of time. Here at least the spirit of
|
||
|
the ancient builders was at one with the spirit of the
|
||
|
modern beholder. Standing before this abraded pile,
|
||
|
the eye regarded its present usage, the mind-dwelt upon
|
||
|
its past history, with a satisfied sense of functional
|
||
|
continuity throughout -- a feeling almost of gratitude,
|
||
|
and quite of pride, at the permanence of the idea
|
||
|
which had heaped it up. The fact that four centuries
|
||
|
had neither proved it to be founded on a mistake,
|
||
|
inspired any hatred of its purpose, nor given rise to
|
||
|
any reaction that had battered it down, invested this
|
||
|
simple grey effort of old minds with a repose, if not a
|
||
|
grandeur, which a too curious reflection was apt to
|
||
|
disturb in its ecclesiastical and military compeers. For
|
||
|
once medievalism and modernism had a common stand-
|
||
|
point. The lanccolate windows, the time-eaten arch-
|
||
|
stones and chamfers, the orientation of the axis, the
|
||
|
misty chestnut work of the rafters, referred to no exploded
|
||
|
fortifying art or worn-out religious creed. The defence
|
||
|
and salvation of the body by daily bread is still a study,
|
||
|
a religion, and a desire.
|
||
|
To-day the large side doors were thrown open
|
||
|
towards the sun to admit a bountiful light to the
|
||
|
immediate spot of the shearers' operations, which was
|
||
|
the wood threshing-floor in the centre, formed of thick
|
||
|
oak, black with age and polished by the beating of flails
|
||
|
for many generations, till it had grown as slippery and
|
||
|
as rich in hue as the state-room floors of an Elizabethan
|
||
|
mansion. Here the shearers knelt, the sun slanting in
|
||
|
upon their bleached shirts, tanned arms, and the polished
|
||
|
shears they flourished, causing these to bristle with a
|
||
|
thousand rays strong enough to blind a weak-eyed man.
|
||
|
Beneath them a captive sheep lay panting, quickening
|
||
|
its pants as misgiving merged in terror, till it quivered
|
||
|
like the hot landscape outside.
|
||
|
This picture of to-day in its frame of four hundred
|
||
|
years ago did not produce that marked contrast between
|
||
|
ancient and modern which is implied by the contrast
|
||
|
of date. In comparison with cities, Weatherbury was
|
||
|
immutable. The citizen's Then is the rustic's Now.
|
||
|
In London, twenty or thirty-years ago are old times;
|
||
|
in Paris ten years, or five; in Weatherbury three or
|
||
|
four score years were included in the mere present,
|
||
|
and nothing less than a century set a mark on its
|
||
|
face or tone. Five decades hardly modified the cut of
|
||
|
a gaiter, the embroidery of a smock-frock, by the breadth
|
||
|
of a hair. Ten generations failed to alter the turn of
|
||
|
a single phrase. In these Wessex nooks the busy out-
|
||
|
sider's ancient times are only old; his old times are still
|
||
|
new; his present is futurity.
|
||
|
So the barn was natural to the shearers, and the
|
||
|
shearers were in harmony with the barn.
|
||
|
The spacious ends of the building, answering ecclesi-
|
||
|
astically to nave and chancel extremities, were fenced
|
||
|
off with hurdles, the sheep being all collected in a crowd
|
||
|
within these two enclosures; and in one angle a catching-
|
||
|
pen was formed, in which three or four sheep were
|
||
|
continuously kept ready for the shearers to seize without
|
||
|
loss of time. In the background, mellowed by tawny
|
||
|
shade, were the three women, Maryann Money, and
|
||
|
Temperance and Soberness Miller, gathering up the
|
||
|
fleeces and twisting ropes of wool with a wimble for
|
||
|
tying them round. They were indifferently well assisted
|
||
|
by the old maltster, who, when the malting season from
|
||
|
October to April had passed, made himself useful upon
|
||
|
any of the bordering farmsteads.
|
||
|
"Behind all was Bathsheba, carefully watching the
|
||
|
men to see that there was no cutting or wounding
|
||
|
through carelessness, and that the animals were shorn
|
||
|
close. Gabriel, who flitted and hovered under her
|
||
|
bright eyes like a moth, did not shear continuously,
|
||
|
half his time being spent in attending to the others
|
||
|
and selecting the sheep for them. At the present
|
||
|
moment he was engaged in handing round a mug of
|
||
|
mild liquor, supplied from a barrel in the corner,
|
||
|
and cut pieces of bread and cheese.
|
||
|
Bathsheba, after throwing a glance here, a caution
|
||
|
there, and lecturing one of the younger operators who
|
||
|
had allowed his last finished sheep to go off among
|
||
|
the flock without re-stamping it with her initials, came
|
||
|
again to Gabriel, as he put down the luncheon to drag
|
||
|
a frightened ewe to his shear-station, flinging it over
|
||
|
upon its back with a dexterous twist of the arm
|
||
|
He lopped off the tresses about its head, and opened
|
||
|
up the neck and collar, his mistress quietly looking
|
||
|
on:
|
||
|
"She blushes at the insult." murmured Bathsheba,
|
||
|
watching the pink flush which arose and overspread
|
||
|
the neck and shoulders of the ewe where they were
|
||
|
left bare by the clicking shears -- a flush which was
|
||
|
enviable, for its delicacy, by many queens of coteries,
|
||
|
and would have been creditable, for its promptness, to
|
||
|
any woman in the world.
|
||
|
Poor Gabriel's soul was fed with a luxury of content
|
||
|
by having her over him, her eyes critically regarding
|
||
|
his skilful shears, which apparently were going to gather
|
||
|
up a piece of the flesh at every close, and yet never did
|
||
|
so. Like Guildenstern, Oak was happy in that he was
|
||
|
not over happy. He had no wish to converse with her:
|
||
|
that his bright lady and himself formed one group,
|
||
|
exclusively their own, and containing no others in the
|
||
|
world, was enough.
|
||
|
So the chatter was all on her side. There is a
|
||
|
loquacity that tells nothing, which was Bathsheba's;
|
||
|
and there is a silence which says much: that was
|
||
|
Gabriel's. Full of this dim and temperate bliss, he
|
||
|
went on to fling the ewe over upon her other side,
|
||
|
covering her head with his knee, gradually running
|
||
|
the shears line after line round her dewlap; thence
|
||
|
about her flank and back, and finishing over the tail.
|
||
|
"Well done, and done quickly!" said Bathsheba,
|
||
|
looking at her watch as the last snip resounded.
|
||
|
"How long, miss?" said Gabriel, wiping his brow.
|
||
|
"Three-and-twenty minutes and a half since you took
|
||
|
the first lock from its forehead. It is the first time that
|
||
|
I have ever seen one done in less than half an hour."
|
||
|
The clean, sleek creature arose from its fleece -- how
|
||
|
perfectly like Aphrodite rising from the foam should
|
||
|
have been seen to be realized -- looking startled and
|
||
|
shy at the loss of its garment, which lay on the floor
|
||
|
in one soft cloud, united throughout, the portion visible
|
||
|
being the inner surface only, which, never before exposed,
|
||
|
was white as snow, and without flaw or blemish of the
|
||
|
minutest kind.
|
||
|
"Cain Ball!"
|
||
|
"Yes, Mister Oak; here I be!"
|
||
|
Cainy now runs forward with the tar-pot. "B. E." is
|
||
|
newly stamped upon the shorn skin, and away the simple
|
||
|
dam leaps, panting, over the board into the shirtless
|
||
|
flock outside. Then up comes Maryann; throws the
|
||
|
loose locks into the middle of the fleece, rolls it up,
|
||
|
and carries it into the background as three-and-a-half
|
||
|
pounds of unadulterated warmth for the winter enjoy-
|
||
|
ment of persons unknown and far away, who will,
|
||
|
however, never experience the superlative comfort
|
||
|
derivable from the wool as it here exists, new and pure
|
||
|
-- before the unctuousness of its nature whilst in a
|
||
|
living state has dried, stiffened, and been washed out
|
||
|
-- rendering it just now as superior to anything woollen
|
||
|
as cream is superior to milk-and-water.
|
||
|
But heartless circumstance could not leave entire
|
||
|
Gabriel's happiness of this morning. The rams, old
|
||
|
ewes, and two-shear ewes had duly undergone their
|
||
|
stripping, and the men were proceeding with the shear-
|
||
|
lings and hogs, when Oak's belief that she was going to
|
||
|
stand pleasantly by and time him through another
|
||
|
performance was painfully interrupted by Farmer Bold-
|
||
|
wood's appearance in the extremest corner of the barn.
|
||
|
Nobody seemed to have perceived his entry, but there
|
||
|
he certainly was. Boldwood always carried with him a
|
||
|
social atmosphere of his own, which everybody felt who
|
||
|
came near him; and the talk, which Bathsheba's
|
||
|
presence had somewhat suppressed, was now totally
|
||
|
suspended.
|
||
|
He crossed over towards Bathsheba, who turned to
|
||
|
greet him with a carriage of perfect ease. He spoke to
|
||
|
her in low tones, and she instinctively modulated her
|
||
|
own to the same pitch, and her voice ultimately even
|
||
|
caught the inflection of his. She was far from having
|
||
|
a wish to appear mysteriously connected with him; but
|
||
|
woman at the impressionable age gravitates to the larger
|
||
|
body not only in her choice of words, which is apparent
|
||
|
every day, but even in her shades of tone and humour,
|
||
|
when the influence is great.
|
||
|
What they conversed about was not audible to
|
||
|
Gabriel, who was too independent to get near, though
|
||
|
too concerned to disregard. The issue of their dialogue
|
||
|
was the taking of her hand by the courteous farmer to
|
||
|
help her over the spreading-board into the bright June
|
||
|
sunlight outside. Standing beside the sheep already
|
||
|
shorn, they went on talking again. Concerning the
|
||
|
flock? Apparently not. Gabriel theorized, not without
|
||
|
truth, that in quiet discussion of any matter within reach
|
||
|
of the speakers' eyes, these are usually fixed upon it.
|
||
|
Bathsheba demurely regarded a contemptible straw lying
|
||
|
upon the ground, in a way which suggested less ovine
|
||
|
criticism than womanly embarrassment. She became
|
||
|
more or less red in the cheek, the blood wavering in
|
||
|
uncertain flux and reflux over the sensitive space between
|
||
|
ebb and flood. Gabriel sheared on, constrained and
|
||
|
sad.
|
||
|
She left Boldwood's side, and he walked up and
|
||
|
down alone for nearly a quarter of an hour. Then she
|
||
|
reappeared in her new riding-habit of myrtle-green, which
|
||
|
fitted her to the waist as a rind fits its fruit; and young
|
||
|
Bob Coggan led -on -her mare, Boldwood fetching his
|
||
|
own horse from the tree under which it had been tied.
|
||
|
Oak's eyes could not forsake them; and in en-
|
||
|
deavouring to continue his shearing at the same time
|
||
|
that he watched Boldwood's manner, he snipped the
|
||
|
sheep in the groin. The animal plunged; Bathsheba
|
||
|
instantly gazed towards it, and saw the blood.
|
||
|
"O, Gabriel!" she exclaimed, with severe remon-
|
||
|
strance you who are so strict with the other men -- see
|
||
|
what you are doing yourself!"
|
||
|
To an outsider there was not much to complain of
|
||
|
in this remark; but to Oak, who "knew Bathsheba to be
|
||
|
well aware that she herself was the cause of the poor
|
||
|
ewe's wound, because she had wounded the ewe's shearer
|
||
|
in a -- still more vital part, it had a sting which the abiding
|
||
|
sense of his inferiority to both herself and Boldwood was
|
||
|
not calculated to heal. But a manly resolve to recognize
|
||
|
boldly that he had no longer a lover's interest in her,
|
||
|
helped him occasionally to conceal a feeling.
|
||
|
"Bottle!" he shouted, in an unmoved voice of routine.
|
||
|
Cainy Ball ran up, the wound was anointed, and the
|
||
|
shearing continued.
|
||
|
Boldwood gently tossed Bathsheba into the saddle,
|
||
|
and before they turned away she again spoke out to Oak
|
||
|
with the same dominative and tantalizing graciousness.
|
||
|
"I am going now to see Mr. Boldwood's Leicesters.
|
||
|
Take my place in the barn, Gabriel, and keep the men
|
||
|
carefully to their work."
|
||
|
The horses' heads were put about, and they trotted
|
||
|
away.
|
||
|
Boldwood's deep attachment was a matter of great
|
||
|
interest among all around him; but, after having been
|
||
|
pointed out for so many years as the perfect exemplar
|
||
|
of thriving bachelorship, his lapse was an anticlimax
|
||
|
somewhat resembling that of St. John Long's death by
|
||
|
consumption in the midst of his proofs that it was not
|
||
|
a fatal disease.
|
||
|
"That means matrimony." said Temperance Miller,
|
||
|
following them out of sight with her eyes.
|
||
|
"I reckon that's the size o't." said Coggan, working
|
||
|
along without looking up.
|
||
|
"Well, better wed over the mixen than over the moor,"
|
||
|
said Laban Tall, turning his sheep.
|
||
|
Henery Fray spoke, exhibiting miserable eyes at the
|
||
|
same time: "I don't see why a maid should take a
|
||
|
husband when she's bold enough to fight her own
|
||
|
battles, and don't want a home; for 'tis keeping another
|
||
|
woman out. But let it be, for 'tis a pity he and she
|
||
|
should trouble two houses."
|
||
|
As usual with decided characters, Bathsheba invari-
|
||
|
ably provoked the criticism of individuals like Henery
|
||
|
Fray. Her emblazoned fault was to be too pronounced
|
||
|
in her objections, and not sufficiently overt in her
|
||
|
likings. We learn that it is not the rays which bodies
|
||
|
absorb, but those which they reject, that give them the
|
||
|
colours they are known by; and win the same way people
|
||
|
are specialized by their dislikes and antagonisms, whilst
|
||
|
their goodwill is looked upon as no attribute at all.
|
||
|
Henery continued in a more complaisant mood: "I
|
||
|
once hinted my mind to her on a few things, as nearly
|
||
|
as a battered frame dared to do so to such a froward
|
||
|
piece. You all know, neighbours, what a man I be,
|
||
|
and how I come down with my powerful words when
|
||
|
my pride is boiling wi' scarn?"
|
||
|
"We do, we do, Henery."
|
||
|
"So I said, " Mistress Everdene, there's places empty,
|
||
|
and there's gifted men willing; but the spite -- no. not
|
||
|
the spite -- I didn't say spite -- "but the villainy of the
|
||
|
contrarikind." I said (meaning womankind), " keeps 'em
|
||
|
out." That wasn't too strong for her, say?"
|
||
|
"Passably well put."
|
||
|
"Yes; and I would have said it, had death and
|
||
|
salvation overtook me for it. Such is my spirit when I
|
||
|
have a mind."
|
||
|
"A true man, and proud as a lucifer."
|
||
|
"You see the artfulness? Why, 'twas about being
|
||
|
baily really; but I didn't put it so plain that she could
|
||
|
understand my meaning, so I could lay it on all the
|
||
|
stronger. That was my depth! ... However, let her
|
||
|
marry an she will. Perhaps 'tis high time. I believe
|
||
|
Farmer Boldwood kissed her behind the spear-bed at the
|
||
|
sheep-washing t'other day -- that I do."
|
||
|
"What a lie!" said Gabriel.
|
||
|
"Ah, neighbour Oak -- how'st know?" said, Henery,
|
||
|
mildly.
|
||
|
"Because she told me all that passed." said Oak, with
|
||
|
a pharisaical sense that he was not as other shearers in
|
||
|
this matter.
|
||
|
"Ye have a right to believe it." said Henery, with
|
||
|
dudgeon; "a very true right. But I mid see a little
|
||
|
distance into things! To be long-headed enough for a
|
||
|
baily's place is a poor mere trifle -- yet a trifle more than
|
||
|
nothing. However, I look round upon life quite cool.
|
||
|
Do you heed me, neighbours? My words, though made
|
||
|
as simple as I can, mid be rather deep for some heads."
|
||
|
"O yes, Henery, we quite heed ye."
|
||
|
"A strange old piece, goodmen -- whirled about from
|
||
|
here to yonder, as if I were nothing! A little warped,
|
||
|
too. But I have my depths; ha, and even my great
|
||
|
depths! I might gird at a certain shepherd, brain to
|
||
|
brain. But no -- O no!"
|
||
|
"A strange old piece, ye say!" interposed the maltster,
|
||
|
in a querulous voice. "At the same time ye be no old
|
||
|
man worth naming -- no old man at all. Yer teeth
|
||
|
bain't half gone yet; and what's a old man's standing
|
||
|
if se be his teeth bain't gone? Weren't I stale in
|
||
|
wedlock afore ye were out of arms? 'Tis a poor thing
|
||
|
to be sixty, when there's people far past four-score -- a
|
||
|
boast'weak as water."
|
||
|
It was the unvaying custom in Weatherbury to
|
||
|
sink minor differences when the maltster had to be
|
||
|
pacified.
|
||
|
"Weak as-water! yes." said Jan Coggan.- "Malter,
|
||
|
we feel ye to be a wonderful veteran man, and nobody
|
||
|
can gainsay it."
|
||
|
"Nobody." said Joseph Poorgrass. "Ye be a very
|
||
|
rare old spectacle, malter, and we all admire ye for that
|
||
|
gift. "
|
||
|
"Ay, and as a young man, when my senses were in
|
||
|
prosperity, I was likewise liked by a good-few who
|
||
|
knowed me." said the maltster.
|
||
|
"'Ithout doubt you was -- 'ithout doubt."
|
||
|
The bent and hoary 'man was satisfied, and so
|
||
|
apparently was Henery Frag. That matters should
|
||
|
continue pleasant Maryann spoke, who, what with her
|
||
|
brown complexion, and the working wrapper of rusty
|
||
|
linsey, had at present the mellow hue of an old sketch
|
||
|
in oils -- notably some of Nicholas Poussin's: --
|
||
|
"Do anybody know of a crooked man, or a lame, or
|
||
|
any second-hand fellow at all that would do for poor
|
||
|
me?" said Maryann. "A perfect one I don't expect to
|
||
|
at my time of life. If I could hear of such a thing
|
||
|
twould do me more good than toast and ale."
|
||
|
Coggan furnished a suitable reply. Oak went on
|
||
|
with his shearing, and said not another word. Pestilent
|
||
|
moods had come, and teased away his quiet. Bathsheba
|
||
|
had shown indications of anointing him above his
|
||
|
fellows by installing him as the bailiff that the farm
|
||
|
imperatively required. He did not covet the post
|
||
|
relatively to the farm: in relation to herself, as beloved
|
||
|
by him and unmarried to another, he had coveted it.
|
||
|
His readings of her seemed now to be vapoury and
|
||
|
indistinct. His lecture to her was, he thought, one of
|
||
|
the absurdest mistakes. Far from coquetting with
|
||
|
Boldwood, she had trifled with himself in thus feigning
|
||
|
that she had trifled with another. He was inwardly
|
||
|
convinced that, in accordance with the anticipations of
|
||
|
his easy-going and worse-educated comrades, that day
|
||
|
would see Boldwood the accepted husband of Miss
|
||
|
Everdene. Gabriel at this time of his life had out-
|
||
|
grown the instinctive dislike which every Christian
|
||
|
boy has for reading the Bible, perusing it now quite
|
||
|
frequently, and he inwardly said, "I find more bitter
|
||
|
than death the woman whose heart is snares and
|
||
|
nets!" This was mere exclamation -- the froth of the
|
||
|
storm. He adored Bathsheba just the same.
|
||
|
"We workfolk shall have some lordly- junketing
|
||
|
to-night." said Cainy Ball, casting forth his thoughts in
|
||
|
a new direction. "This morning I see'em making the
|
||
|
great puddens in the milking-pails -- lumps of fat as big
|
||
|
as yer thumb, Mister Oak! I've never seed such
|
||
|
splendid large knobs of fat before in the days of my
|
||
|
life -- they never used to be bigger then a horse-bean.
|
||
|
And there was a great black crock upon the brandish
|
||
|
with his legs a-sticking out, but I don't know what was
|
||
|
in within."
|
||
|
"And there's two bushels of biffins for apple-pies,"
|
||
|
said Maryann.
|
||
|
"Well, I hope to do my duty by it all." said Joseph
|
||
|
Poorgrass, in a pleasant, masticating manner of anticipa-
|
||
|
tion. "Yes; victuals and drink is a cheerful thing,
|
||
|
and gives nerves to the nerveless, if the form of words
|
||
|
may be used. 'Tis the gospel of the body, without
|
||
|
which we perish, so to speak it."
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXIII
|
||
|
|
||
|
|
||
|
|
||
|
EVENTIDE -- A SECOND DECLARATION
|
||
|
|
||
|
|
||
|
FOR the shearing-supper a long table was placed on the
|
||
|
grass-plot beside the house, the end of the table being
|
||
|
thrust over the sill of the wide parlour window and a
|
||
|
foot or two into the room. Miss Everdene sat inside
|
||
|
the window, facing down the table. She was thus at
|
||
|
the head without mingling with the men.
|
||
|
This evening Bathsheba was unusually excited, her
|
||
|
red cheeks and lips contrasting lustrously with the mazy
|
||
|
skeins of her shadowy hair. She seemed to expect
|
||
|
assistance, and the seat at the bottom of the table was
|
||
|
at her request left vacant until after they had begun
|
||
|
and the duties appertaining to that end, which he did
|
||
|
with great readiness.
|
||
|
At this moment Mr. Boldwood came in at the gate,
|
||
|
and crossed the green to Bathsheba at the window.
|
||
|
He apologized for his lateness: his arrival was evidently
|
||
|
by arrangement.
|
||
|
"Gabriel." said she, " will you move again, please,
|
||
|
and let Mr. Boldwood come there?"
|
||
|
Oak moved in silence back to his original seat.
|
||
|
The gentleman-farmer was dressed in cheerful style,
|
||
|
in a new coat and white waistcoat, quite contrasting
|
||
|
with his usual sober suits of grey. Inwardy, too, he
|
||
|
was blithe, and consequently chatty to an exceptional
|
||
|
degree. So also was Bathsheba now that he had come,
|
||
|
though the uninvited presence of Pennyways, the bailiff
|
||
|
who had been dismissed for theft, disturbed her equan-
|
||
|
imity for a while.
|
||
|
Supper being ended, Coggan began on his own
|
||
|
private account, without reference to listeners: --
|
||
|
l've lost my love and l care not,
|
||
|
I've lost my love, and l care not;
|
||
|
I shall soon have another
|
||
|
That's better than t'other!
|
||
|
I've lost my love, and I care not.
|
||
|
This lyric, when concluded, was received with a
|
||
|
silently appreciative gaze at the table, implying that the
|
||
|
performance, like a work by those established authors
|
||
|
who are independent of notices in the papers, was a
|
||
|
well-known delight which required no applause.
|
||
|
"Now, Master Poorgrass, your song!" said Coggan.
|
||
|
"I be all but in liquor, and the gift is wanting in
|
||
|
me." said Joseph, diminishing himself.
|
||
|
"Nonsense; wou'st never be so ungrateful, Joseph --
|
||
|
never!" said Coggan, expressing hurt feelings by an
|
||
|
inflection of voice. "And mistress is looking hard at
|
||
|
ye, as much as to say, "Sing at once, Joseph Poor-
|
||
|
grass."
|
||
|
"Faith, so she is; well, I must suffer it! ... Just
|
||
|
eye my features, and see if the tell-tale blood overheats
|
||
|
me much, neighbours?"
|
||
|
"No, yer blushes be quite reasonable." said Coggan.
|
||
|
"I always tries to keep my colours from rising when
|
||
|
a beauty's eyes get fixed on me." said Joseph, differently;
|
||
|
"but if so be 'tis willed they do, they must."
|
||
|
"Now, Joseph, your song, please." said Bathsheba,
|
||
|
from the window.
|
||
|
"Well, really, ma'am." he replied, in a yielding tone,
|
||
|
"I don't know what to say. It would be a poor plain
|
||
|
ballet of my own composure."
|
||
|
Hear, hear!" said the supper-party.
|
||
|
Poorgrass, thus assured, trilled forth a flickering yet
|
||
|
commendable piece of sentiment, the tune of which
|
||
|
consisted of the key-note and another, the latter being
|
||
|
the sound chiefly dwelt upon. This was so successful
|
||
|
that he rashly plunged into a second in the same
|
||
|
breath, after a few false starts: --
|
||
|
I sow'-ed th'-e
|
||
|
I sow'-ed
|
||
|
I sow'-ed the'-e seeds' of love',
|
||
|
I-it was' all' i'-in the'-e spring',
|
||
|
I-in A'-pril', Ma'-ay, a'-nd sun'-ny' June',
|
||
|
When sma'-all bi'-irds they' do' sing.
|
||
|
"Well put out of hand." said Coggan, at the end of the
|
||
|
verse. `They do sing' was a very taking paragraph."
|
||
|
"Ay; and there was a pretty place at "seeds of
|
||
|
love." and 'twas well heaved out. Though "love " is
|
||
|
a nasty high corner when a man's voice is getting
|
||
|
crazed. Next verse, Master Poorgrass."
|
||
|
But during this rendering young Bob Coggan ex-
|
||
|
hibited one of those anomalies which will afflict little
|
||
|
people when other persons are particularly serious: in
|
||
|
trying to check his laughter, he pushed down his throat
|
||
|
as much of the tablecloth as he could get hold of, when,
|
||
|
after continuing hermetically sealed for a short time, his
|
||
|
mirth burst out through his nose. Joseph perceived it,
|
||
|
and with hectic cheeks of indignation instantly ceased
|
||
|
singing. Coggan boxed Bob's ears immediately.
|
||
|
"Go on, Joseph -- go on, and never mind the young
|
||
|
scamp." said Coggan. "'Tis a very catching ballet.
|
||
|
Now then again -- the next bar; I'll help ye to flourish
|
||
|
up the shrill notes where yer wind is rather wheezy: --
|
||
|
O the wi'-il-lo'-ow tree' will' twist',
|
||
|
And the wil'-low' tre'-ee wi'ill twine'.
|
||
|
But the singer could not be set going again. Bob
|
||
|
Coggan was sent home for his ill manners, and tran-
|
||
|
quility was restored by Jacob Smallbury, who volunteered
|
||
|
a ballad as inclusive and interminable as that with which
|
||
|
the worthy toper old Silenus amused on a similar occasion
|
||
|
the swains Chromis and Mnasylus, and other jolly dogs
|
||
|
of his day.
|
||
|
It was still the beaming time of evening, though
|
||
|
night was stealthily making itself visible low down upon
|
||
|
the ground, the western lines of light taking the earth
|
||
|
without alighting upon it to any extent, or illuminating
|
||
|
the dead levels at all. The sun had crept round the
|
||
|
tree as a last effort before death, and then began to
|
||
|
sink, the shearers' lower parts becoming steeped in
|
||
|
embrowning twilight, whilst their heads and shoulders
|
||
|
were still enjoying day, touched with a yellow of self-
|
||
|
sustained brilliancy that seemed inherent rather than
|
||
|
acquired.
|
||
|
The sun went down in an ochreous mist; but they
|
||
|
sat, and talked on, and grew as merry as the gods in
|
||
|
Homer's heaven. Bathsheba still remained enthroned
|
||
|
inside the window, and occupied herself in knitting,
|
||
|
from which she sometimes looked up to view the fading
|
||
|
scene outside. The slow twilight expanded and enveloped
|
||
|
them completely before the signs of moving were shown.
|
||
|
Gabriel suddenly missed Farmer Boldwood from his
|
||
|
place at the bottom of the table. How long he had
|
||
|
been gone Oak did not know; but he had apparently
|
||
|
withdrawn into the encircling dusk. Whilst he was
|
||
|
thinking of this, Liddy brought candles into the back
|
||
|
part of the room overlooking the shearers, and their
|
||
|
lively new flames shone down the table and over the
|
||
|
men, and dispersed among the green shadows behind.
|
||
|
Bathsheba's form, still in its original position, was now
|
||
|
again distinct between their eyes and the light, which
|
||
|
revealed that Boldwood had gone inside the room, and
|
||
|
was sitting near her.
|
||
|
Next came the question of the evening. Would Miss
|
||
|
Everdene sing to them the song she always sang so
|
||
|
charmingly -- " The Banks of Allan Water" -- before they
|
||
|
went home?
|
||
|
After a moment's consideration Bathsheba assented,
|
||
|
beckoning to Gabriel, who hastened up into the coveted
|
||
|
atmosphere.
|
||
|
"Have you brought your flute? " she whispered.
|
||
|
"Yes, miss."
|
||
|
"Play to my singing, then."
|
||
|
She stood up in the window-opening, facing the
|
||
|
men, the candles behind her, Gabriel on her right hand,
|
||
|
immediately outside the sash-frame. Boldwood had
|
||
|
drawn up on her left, within the room. Her singing
|
||
|
was soft and rather tremulous at first, but it soon swelled
|
||
|
to a steady clearness. Subsequent events caused one
|
||
|
of the verses to be remembered for many months, and
|
||
|
even years, by more than one of those who were gathered
|
||
|
there: --
|
||
|
For his bride a soldier sought her,
|
||
|
And a winning tongue had he:
|
||
|
On the banks of Allan Water
|
||
|
None was gay as she!
|
||
|
In addition to the dulcet piping of Gabriel's flute,
|
||
|
Boldwood supplied a bass in his customary profound
|
||
|
voice, uttering his notes so softly, however, as to abstain
|
||
|
entirely from making anything like an ordinary duet of
|
||
|
the song; they rather formed a rich unexplored shadow,
|
||
|
which threw her tones into relief. The shearers reclined
|
||
|
against each other as at suppers in the early ages of the
|
||
|
world, and so silent and absorbed were they that her
|
||
|
breathing could almost be heard between the bars; and
|
||
|
at the end of the ballad, when the last tone loitered on
|
||
|
to an inexpressible close, there arose that buzz of
|
||
|
pleasure which is the attar of applause.
|
||
|
It is scarcely necessary to state that Gabriel could
|
||
|
not avoid noting the farmer's bearing to-night towards
|
||
|
their entertainer. Yet there was nothing exceptional in
|
||
|
his actions beyond what appertained to his time of
|
||
|
performing them. It was when the rest were all looking
|
||
|
away that Boldwood observed her; when they regarded
|
||
|
her he turned aside; when they thanked or praised he
|
||
|
was silent; when they were inattentive he murmured
|
||
|
his thanks. The meaning lay in the difference between
|
||
|
actions, none of which had any meaning of itself;
|
||
|
and the necessity of being jealous, which lovers are
|
||
|
troubled with, did not lead Oak to underestimate these
|
||
|
signs.
|
||
|
Bathsheba then wished them good-night, withdrew
|
||
|
from the window, and retired to the back part of the
|
||
|
room, Boldwood thereupon closing the sash and the
|
||
|
shutters, and remaining inside with her. Oak wandered
|
||
|
away under the quiet and scented trees. Recovering
|
||
|
from the softer impressions produced by Bathsheba's
|
||
|
voice, the shearers rose to leave, Coggan turning to
|
||
|
Pennyways as he pushed back the bench to pass out: --
|
||
|
"I like to give praise where praise is due, and the
|
||
|
man deserves it -- that 'a do so." he remarked, looking at
|
||
|
the worthy thief, as if he were the masterpiece of some
|
||
|
world-renowned artist.
|
||
|
"I'm sure I should never have believed it if we hadn't
|
||
|
proved it, so to allude," hiccupped Joseph Poorgrass, "that
|
||
|
every cup, every one of the best knives and forks, and
|
||
|
every empty bottle be in their place as perfect now as
|
||
|
at the beginning, and not one stole at all.
|
||
|
"I'm sure I don't deserve half the praise you give
|
||
|
me." said the virtuous thief, grimly.
|
||
|
"Well, I'll say this for Pennyways." added Coggan,
|
||
|
"that whenever he do really make up his mind to do a
|
||
|
noble thing in the shape of a good action, as I could
|
||
|
see by his face he. did to-night afore sitting down, he's
|
||
|
generally able to carry it out. Yes, I'm proud to say.
|
||
|
neighbours, that he's stole nothing at all.
|
||
|
"Well." -- 'tis an honest deed, and we thank ye for it,
|
||
|
Pennyways." said Joseph; to which opinion the remainder
|
||
|
of the company subscribed unanimously.
|
||
|
At this time of departure, when nothing more was
|
||
|
visible of the inside of the parlour than a thin and still
|
||
|
chink of light between the shutters, a passionate scene
|
||
|
was in course of enactment there."
|
||
|
Miss Everdene and Boldwood were alone. Her
|
||
|
cheeks had lost a great deal of their healthful fire from
|
||
|
the very seriousness of her position; but her eye was
|
||
|
bright with the excitement of a triumph -- though it was
|
||
|
a triumph which had rather been contemplated than
|
||
|
desired.
|
||
|
She was standing behind a low arm-chair, from which
|
||
|
she had just risen, and he was kneeling in it -- inclining
|
||
|
himself over its back towards her, and holding her hand
|
||
|
in both his own. His body moved restlessly, and it was
|
||
|
with what Keats daintily calls a too happy happiness.
|
||
|
This unwonted abstraction by love of all dignity from
|
||
|
a man of whom it had ever seemed the chief component,
|
||
|
was, in its distressing incongruity, a pain to her which
|
||
|
quenched much of the pleasure she derived from the
|
||
|
proof that she was idolized.
|
||
|
"I will try to love you." she was saying, in a trembling
|
||
|
voice quite unlike her usual self-confidence. "And if I
|
||
|
can believe in any way that I shall make you a good
|
||
|
wife I shall indeed be willing to marry you. But, Mr.
|
||
|
Boldwood, hesitation on so high a matter is honourable
|
||
|
in any woman, and I don't want to give a solemn
|
||
|
promise to-night. I would rather ask you to wait a few
|
||
|
weeks till I can see my situation better."But you have every reason to
|
||
|
believe that then -- -- "
|
||
|
"I have every reason to hope that at the end of the five or
|
||
|
six weeks, between this time and harvest, that
|
||
|
you say you are going to be away from home, I shall be
|
||
|
able to promise to be your wife." she said, firmly. "But
|
||
|
remember this distinctly, I don't promise yet."
|
||
|
"It is enough I don't ask more. I can wait on
|
||
|
those dear words. And now, Miss Everdene, good-
|
||
|
night!"
|
||
|
"Good-night." she said, graciously -- almost tenderly;
|
||
|
and Boldwood withdrew with a serene smile.
|
||
|
Bathsheba knew more of him now; he had entirely
|
||
|
bared his heart before her, even until he had almost
|
||
|
worn in her eyes the sorry look of a grand bird without
|
||
|
the feathers that make it grand. She had been awe-
|
||
|
struck at her past temerity, and was struggling to make
|
||
|
amends without thinking whether the sin quite deserved
|
||
|
the penalty she was schooling herself to pay. To have
|
||
|
brought all this about her ears was terrible; but after a
|
||
|
while the situation was not without a fearful joy. The
|
||
|
facility with which even the most timid woman some-
|
||
|
times acquire a relish for the dreadful when that is
|
||
|
amalgamated with a little triumph, is marvellous.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXIV
|
||
|
|
||
|
|
||
|
|
||
|
THE SAME NIGHT -- THE FIR PLANTATION
|
||
|
|
||
|
|
||
|
AMONG the multifarious duties which Bathsheba had
|
||
|
voluntarily imposed upon herself by dispensing with the
|
||
|
services of a bailiff, was the particular one of looking
|
||
|
round the homestead before going to bed, to see that
|
||
|
all was right and safe for the night. Gabriel had almost
|
||
|
constantly preceded her in this tour every evening,
|
||
|
watching her affairs as carefully as any specially appointed
|
||
|
officer of surveillance could have done; but this tender
|
||
|
devotion was to a great extent unknown to his mistress,
|
||
|
and as much as was known was somewhat thanklessly
|
||
|
received. Women are never tired of bewailing man's
|
||
|
fickleness in love, but they only seem to snub his con-
|
||
|
stancy.
|
||
|
As watching is best done invisibly, she usually carried
|
||
|
a dark lantern in her hand, and every now and then
|
||
|
turned on the light to examine nooks and corners with
|
||
|
the coolness of a metropolitan policeman. This cool-
|
||
|
ness may have owed its existence not so much to her
|
||
|
fearlessness of expected danger as to her freedom from
|
||
|
the suspicion of any; her worst anticipated discovery
|
||
|
being that a horse might not be well bedded, the fowls
|
||
|
not all in, or a door not closed.
|
||
|
This night the buildings were inspected as usual,
|
||
|
and she went round to the farm paddock. Here the
|
||
|
only sounds disturbing the stillness were steady munch-
|
||
|
ings of many mouths, and stentorian breathings from all
|
||
|
but invisible noses, ending in snores and puffs like the
|
||
|
blowing of bellows slowly. Then the munching would
|
||
|
recommence, when the lively imagination might assist
|
||
|
the eye to discern a group of pink-white nostrils, shaped
|
||
|
as caverns, and very clammy and humid on their sur-
|
||
|
faces, not exactly pleasant to the touch until one got
|
||
|
used to them; the mouths beneath having a great
|
||
|
partiality for closing upon any loose end of Bathsheba's
|
||
|
apparel which came within reach of their tongues.
|
||
|
Above each of these a still keener vision suggested a
|
||
|
brown forehead and two staring though not unfriendly
|
||
|
eyes, and above all a pair of whitish crescent-shaped
|
||
|
horns like two particularly new moons, an occasional
|
||
|
stolid " moo!" proclaiming beyond the shade of a doubt
|
||
|
that these phenomena were the features and persons of
|
||
|
Daisy, Whitefoot, Bonny-lass, Jolly-O, Spot, Twinkle-eye,
|
||
|
etc., etc. -- the respectable dairy of Devon cows belonging
|
||
|
to Bathsheba aforesaid.
|
||
|
Her way back to the house was by a path through a
|
||
|
young plantation of tapering firs, which had been planted
|
||
|
some years earlier to shelter the premises from the north
|
||
|
wind. By reason of the density of the interwoven foliage
|
||
|
overhead, it was gloomy there at cloudless noontide,
|
||
|
twilight in the evening, dark as midnight at dusk, and
|
||
|
black as the ninth plague of Egypt at midnight. To
|
||
|
describe the spot is to call it a vast, low, naturally formed
|
||
|
hall, the plumy ceiling of which was supported by slender
|
||
|
pillars of living wood, the floor being covered with a soft
|
||
|
dun carpet of dead spikelets and mildewed cones, with
|
||
|
a tuft of grass-blades here and there.
|
||
|
This bit of the path was always the crux of the
|
||
|
night's ramble, though, before starting, her apprehen-
|
||
|
sions of danger were not vivid enough to lead her to
|
||
|
take a companion. Slipping along here covertly as
|
||
|
Time, Bathsheba fancied she could hear footsteps enter-
|
||
|
ing the track at the opposite end. It was certainly a
|
||
|
rustle of footsteps. Her own instantly fell as gently as
|
||
|
snowflakes. She reassured herself by a remembrance
|
||
|
that the path was public, and that the traveller was
|
||
|
probably some villager returning home; regetting, at
|
||
|
the same time, that the meeting should be about to
|
||
|
occur in the darkest point of her route, even though
|
||
|
only just outside her own door.
|
||
|
The noise approached, came close, and a figure was
|
||
|
apparently on the point of gliding past her when some-
|
||
|
thing tugged at her skirt and pinned it forcibly to the
|
||
|
ground. The instantaneous check nearly threw Bath-
|
||
|
sheba off her balance. In recovering she struck against
|
||
|
warm clothes and buttons.
|
||
|
"A rum start, upon my soul!" said a masculine voice,
|
||
|
a foot or so above her head. "Have I hurt you, mate?"
|
||
|
"No." said Bathsheba, attempting to shrink a way.
|
||
|
"We have got hitched together somehow, I think."
|
||
|
"Yes."
|
||
|
"Are you a woman?"
|
||
|
"Yes."
|
||
|
"A lady, I should have said."
|
||
|
"It doesn't matter."
|
||
|
"I am a man."
|
||
|
"Oh!"
|
||
|
Bathsheba softly tugged again, but to no purpose.
|
||
|
"Is that a dark lantern you have? I fancy so." said
|
||
|
the man.
|
||
|
"Yes."
|
||
|
"If you'll allow me I'll open it, and set you free."
|
||
|
A hand seized the lantern, the door was opened, the
|
||
|
rays burst out from their prison, and Bathsheba beheld
|
||
|
her position with astonishment.
|
||
|
The man to whom she was hooked was brilliant in
|
||
|
brass and scarlet. He was a soldier. His sudden
|
||
|
appearance was to darkness what the sound of a trumpet
|
||
|
is to silense. Gloom, the genius loci at all times hitherto,
|
||
|
was now totally overthrown, less by the lantern-light
|
||
|
than by what the lantern lighted. The contrast of this
|
||
|
revelation with her anticipations of some sinister figure
|
||
|
in sombre garb was so great that it had upon her the
|
||
|
effect of a fairy transformation.
|
||
|
It was immediately apparent that the military man's
|
||
|
spur had become entangled in the gimp which decorated
|
||
|
the skirt of her dress. He caught a view of her face.
|
||
|
"I'll unfasten you in one moment, miss." he said,
|
||
|
with new-born gallantry.
|
||
|
"O no -- I can do it, thank you." she hastily replied,
|
||
|
and stooped for the performance.
|
||
|
The unfastening was not such a trifling affair. The
|
||
|
rowel of the spur had so wound itself among the gimp
|
||
|
cords in those few moments, that separation was likely
|
||
|
to be a matter of time.
|
||
|
He too stooped, and the lantern standing on the
|
||
|
ground betwixt them threw the gleam from its open side
|
||
|
among the fir-tree needles and the blades of long damp
|
||
|
grass with the effect of a large glowworm. It radiated
|
||
|
upwards into their faces, and sent over half the planta-
|
||
|
tion gigantic shadows of both man and woman, each
|
||
|
dusky shape becoming distorted and mangled upon the
|
||
|
tree-trunks till it wasted to nothing.
|
||
|
He looked hard into her eyes when she raised them
|
||
|
for a moment; Bathsheba looked down again, for his
|
||
|
gaze was too strong to be received point-blank with her
|
||
|
own. But she had obliquely noticed that he was young
|
||
|
and slim, and that he wore three chevrons upon his
|
||
|
sleeve.
|
||
|
Bathsheba pulled again.
|
||
|
"You are a prisoner, miss; it is no use blinking the
|
||
|
matter." said the soldier, drily. "I must cut your dress
|
||
|
if you are in such a hurry."
|
||
|
"Yes -- please do!" she exclaimed, helplessly. "
|
||
|
"It wouldn't be necessary if you could wait a
|
||
|
moment," and he unwound a cord from the little
|
||
|
wheel. She withdrew her own hand, but, whether by
|
||
|
accident or design, he touched it. Bathsheba was
|
||
|
vexed; she hardly knew why.
|
||
|
His unravelling went on, but it nevertheless seemed
|
||
|
coming to no end. She looked at him again.
|
||
|
"Thank you for the sight of such a beautiful face!"
|
||
|
said the young sergeant, without ceremony.
|
||
|
She coloured with embarrassment. "'Twas un-
|
||
|
willingly shown." she replied, stiffly, and with as much
|
||
|
dignity -- which was very little -- as she could infuse into
|
||
|
a position of captivity
|
||
|
"I like you the better for that incivility, miss." he
|
||
|
said.
|
||
|
"I should have liked -- I wish -- you had never shown
|
||
|
yourself to me by intruding here!" She pulled again,
|
||
|
and the gathers of her dress began to give way like
|
||
|
liliputian musketry.
|
||
|
"I deserve the chastisement your words give me.
|
||
|
But why should such a fair and dutiful girl have such
|
||
|
an aversion to her father's sex?"
|
||
|
"Go on your way, please."
|
||
|
"What, Beauty, and drag you after me? Do but
|
||
|
look; I never saw such a tangle!"
|
||
|
"O, 'tis shameful of you; you have been making
|
||
|
it worse on purpose to keep me here -- you have!"
|
||
|
"Indeed, I don't think so." said the sergeant, with a
|
||
|
merry twinkle.
|
||
|
"I tell you you have!" she exclaimed, in high
|
||
|
temper. I insist upon undoing it. Now, allow me!"
|
||
|
"Certainly, miss; I am not of steel." He added a
|
||
|
sigh which had as much archness in it as a sigh could
|
||
|
possess without losing its nature altogether. "I am
|
||
|
thankful for beauty, even when 'tis thrown to me like
|
||
|
a bone to a dog. These moments will be over too
|
||
|
soon!"
|
||
|
She closed her lips in a determined silence.
|
||
|
Bathsheba was revolving in her mind whether by a
|
||
|
bold and desperate rush she could free herself at the
|
||
|
risk of leaving her skirt bodily behind her. The
|
||
|
thought was too dreadful. The dress -- which she had
|
||
|
put on to appear stately at the supper -- was the head
|
||
|
and front of her wardrobe; not another in her stock
|
||
|
became her so well. What woman in Bathsheba's
|
||
|
position, not naturally timid, and within call of her
|
||
|
retainers, would have bought escape from a dashing
|
||
|
soldier at so dear a price?
|
||
|
"All in good time; it will soon be done, I perceive,"
|
||
|
said her cool friend.
|
||
|
"This trifling provokes, and -- and -- -- "
|
||
|
"Not too cruel!"
|
||
|
"-- Insults me!"
|
||
|
"It is done in order that I may have the pleasure
|
||
|
of apologizing to so charming a woman, which I
|
||
|
straightway do most humbly, madam." he said, bowing
|
||
|
low.
|
||
|
Bathsheba really knew not what to say.
|
||
|
"I've seen a good many women in my time,
|
||
|
continued the young man in a murmur, and more
|
||
|
thoughtfully than hitherto, critically regarding her bent
|
||
|
head at the same time; "but I've never seen a woman
|
||
|
so beautiful as you. Take it or leave it -- be offended
|
||
|
or like it -- I don't care."
|
||
|
"Who are you, then, who can so well afford to
|
||
|
despise opinion?"
|
||
|
"No stranger. Sergeant Troy. I am staying in
|
||
|
this place. -- There! it is undone at last, you see.
|
||
|
Your light fingers were more eager than mine. I wish it
|
||
|
had been the knot of knots, which there's no untying!"
|
||
|
This was worse and worse. She started up, and so
|
||
|
did he. How to decently get away from him -- that
|
||
|
was her difficulty now. She sidled off inch by inch,
|
||
|
the lantern in her hand, till she could see the redness
|
||
|
of his coat no longer.
|
||
|
"Ah, Beauty; good-bye!" he said.
|
||
|
She made no reply, and, reaching a distance of
|
||
|
twenty or thirty yards, turned about, and ran indoors.
|
||
|
Liddy had just retired to rest. In ascending to her
|
||
|
own chamber, Bathsheba opened the girl's door an
|
||
|
inch or two, and, panting, said --
|
||
|
"Liddy, is any soldier staying in the village --
|
||
|
sergeant somebody -- rather gentlemanly for a sergeant,
|
||
|
and good looking -- a red coat with blue facings?"
|
||
|
"No, miss ... No, I say; but really it might be
|
||
|
Sergeant Troy home on furlough, though I have not
|
||
|
seen him. He was here once in that way when the
|
||
|
regiment was at Casterbridge."
|
||
|
"Yes; that's the name. Had he a moustache -- no
|
||
|
whiskers or beard?"
|
||
|
"He had."
|
||
|
"What kind of a person is he?"
|
||
|
"O! miss -- I blush to name it -- a gay man! But
|
||
|
I know him to be very quick and trim, who might have
|
||
|
made his thousands, like a squire. Such a clever
|
||
|
young dandy as he is! He's a doctor's son by name,
|
||
|
which is a great deal; and he's an earl's son by
|
||
|
nature!"
|
||
|
"Which is a great deal more. Fancy! Is it true?"
|
||
|
"Yes. And, he was brought up so well, and sent to
|
||
|
Casterbridge Grammar School for years and years.
|
||
|
Learnt all languages while he was there; and it was
|
||
|
said he got on so far that he could take down Chinese
|
||
|
in shorthand; but that I don't answer for, as it was
|
||
|
only reported. However, he wasted his gifted lot,
|
||
|
and listed a soldier; but even then he rose to be a
|
||
|
sergeant without trying at all. Ah! such a blessing it
|
||
|
is to be high-born; nobility of blood will shine out even
|
||
|
in the ranks and files. And is he really come home,
|
||
|
miss?"
|
||
|
"I believe so. Good-night, Liddy."
|
||
|
After all, how could a cheerful wearer of skirts
|
||
|
be permanently offended with the man? There are
|
||
|
occasions when girls like Bathsheba will put up with
|
||
|
a great deal of unconventional behaviour. When they
|
||
|
want to be praised, which is often, when they want to
|
||
|
be mastered, which is sometimes; and when they want
|
||
|
no nonsense, which is seldom. Just now the first
|
||
|
feeling was in the ascendant with Bathsheba, with a dash
|
||
|
of the second. Moreover, by chance or by devilry, the
|
||
|
ministrant was antecedently made interesting by being
|
||
|
a handsome stranger who had evidently seen better
|
||
|
days.
|
||
|
So she could not clearly decide whether it was her
|
||
|
opinion that he had insulted her or not. "
|
||
|
"Was ever anything so odd!" she at last exclaimed
|
||
|
to herself, in her own room. "And was ever anything
|
||
|
so meanly done as what I did do to sulk away like that
|
||
|
from a man who was only civil and kind!" Clearly she
|
||
|
did not think his barefaced praise of her person an
|
||
|
insult now.
|
||
|
It was a fatal omission of Boldwood's that he had
|
||
|
never once told her she was beautiful.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXV
|
||
|
|
||
|
|
||
|
|
||
|
THE NEW ACQUAINTANCE DESCRIBED
|
||
|
|
||
|
|
||
|
IDIOSYNCRASY and vicissitude had combined to
|
||
|
stamp Sergeant Troy as an exceptional being.
|
||
|
He was a man to whom memories were an in-
|
||
|
cumbrance, and anticipations a superfluity. Simply
|
||
|
feeling, considering, and caring for what was before his
|
||
|
eyes, he was vulnerable only in the present. His out-
|
||
|
look upon time was as a transient flash of the eye now
|
||
|
and then: that projection of consciousness into days
|
||
|
gone by and to come, which makes the past a synonym
|
||
|
for the pathetic and the future a word for circum-
|
||
|
spection, was foreign to Troy. With him the past
|
||
|
was yesterday; the future, to-morrow; never, the day
|
||
|
after.
|
||
|
On this account he might, in certain lights, have
|
||
|
been regarded as one of the most fortunate of his
|
||
|
order. For it may be argued with great plausibility
|
||
|
that reminiscence is less an endowment than a disease,
|
||
|
and that expectation in its only comfortable form -- that
|
||
|
of absolute faith -- is practically an impossibility; whilst
|
||
|
in the form of hope and the secondary compounds,
|
||
|
patience, impatience, resolve, curiosity, it is a constant
|
||
|
fluctuation between pleasure and pain.
|
||
|
Sergeant Troy, being entirely innocent of the
|
||
|
practice of expectation, was never disappointed. To
|
||
|
set against this negative gain there may have been
|
||
|
some positive losses from a certain narrowing of the
|
||
|
higher tastes and sensations which it entailed. But
|
||
|
limitation of the capacity is never recognized as a loss
|
||
|
by the loser therefrom: in this attribute moral or
|
||
|
aesthetic poverty contrasts plausibly with material, since
|
||
|
those who suffer do not mind it, whilst those who mind
|
||
|
it soon cease to suffer. It is not a denial of anything
|
||
|
to have been always without it, and what Troy had
|
||
|
never enjoyed he did not miss; but, being fully
|
||
|
conscious that what sober people missed he enjoyed,
|
||
|
his capacity, though really less, seemed greater than
|
||
|
theirs.
|
||
|
He was moderately truthful towards men, but to
|
||
|
women lied like a Cretan -- a system of ethics above all
|
||
|
others calculated to win popularity at the first flush of
|
||
|
admission into lively society; and the possibility of the
|
||
|
favour gained being transitory had reference only to
|
||
|
the future.
|
||
|
He never passed the line which divides the spruce
|
||
|
vices from the ugly; and hence, though his morals had
|
||
|
hardly been applauded, disapproval of them" had fre-
|
||
|
quently been tempered with a smile. This treatment
|
||
|
had led to his becoming a sort of regrater of other
|
||
|
men's gallantries, to his own aggrandizement as a
|
||
|
Corinthian, rather than to the moral profit of his
|
||
|
hearers.
|
||
|
His reason and his propensities had seldom any
|
||
|
reciprocating influence, having separated by mutual
|
||
|
consent long ago: thence it sometimes happened that,
|
||
|
while his intentions were as honourable as could be
|
||
|
wished, any particular deed formed a dark background
|
||
|
which threw them into fine relief. The sergeant's
|
||
|
vicious phases being the offspring of impulse, and
|
||
|
his virtuous phases of cool meditation, the latter
|
||
|
had a modest tendency to be oftener heard of than
|
||
|
seen.
|
||
|
Troy was full of activity, but his activities were less of
|
||
|
a locomotive than a vegetative nature; and, never being
|
||
|
based upon any original choice of foundation or direc-
|
||
|
tion, they were exercised on whatever object chance
|
||
|
might place in their way. Hence, whilst he sometimes
|
||
|
reached the brilliant in speech because that -was
|
||
|
spontaneous, he fell below the commonplace in action,
|
||
|
from inability to guide incipient effort. He had a
|
||
|
quick comprehension and considerable force of char-
|
||
|
acter; but, being without the power to combine them,
|
||
|
the comprehension became engaged with trivialities
|
||
|
whilst waiting for the will to direct it, and the force
|
||
|
wasted itself in useless grooves through unheeding the
|
||
|
comprehension.
|
||
|
He was a fairly well-educated man for one of middle
|
||
|
class -- exceptionally well educated for a common soldier.
|
||
|
He spoke fluently and unceasingly. He could in this
|
||
|
way be one thing and seem another: for instance, he
|
||
|
could speak of love and think of dinner; call on the
|
||
|
intend to owe.
|
||
|
The wondrous power of flattery in passados at woman
|
||
|
is a perception so universal as to be remarked upon by
|
||
|
many people almost as automatically as they repeat a
|
||
|
proverb, or say that they are Christians and the like,
|
||
|
without thinking much of the enormous corollaries
|
||
|
which spring from the proposition. Still less is it acted
|
||
|
upon for the good of the complemental being alluded
|
||
|
to. With the majority such an opinion is shelved with
|
||
|
all those trite aphorisms which require some catastrophe
|
||
|
to bring their tremendous meanings thoroughly home.
|
||
|
When expressed with some amount of reflectiveness it
|
||
|
seems co-ordinate with a belief that this flattery must
|
||
|
be reasonable to be effective. It is to the credit of
|
||
|
men that few attempt to settle the question by experi-
|
||
|
ment, and it is for their happiness, perhaps, that accident
|
||
|
has never settled it for them. Nevertheless, that a
|
||
|
male dissembler who by deluging her with untenable
|
||
|
fictions charms the female wisely, may acquire powers
|
||
|
reaching to the extremity of perdition, is a truth taught
|
||
|
to many by unsought and wringing occurrences. And
|
||
|
some profess to have attained to the same knowledge
|
||
|
by experiment as aforesaid, and jauntily continue their
|
||
|
indulgence in such experiments with terrible effect.
|
||
|
Sergeant Troy was one.
|
||
|
He had been known to observe casually that in
|
||
|
dealing with womankind the only alternative to flattery
|
||
|
was cursing and swearing. There was no third method.
|
||
|
"Treat them fairly, and you are a lost man." he would
|
||
|
say.
|
||
|
This philosopher's public appearance in Weatherbury
|
||
|
promptly followed his arrival there. A week or two
|
||
|
after the shearing, Bathsheba, feeling a nameless relief
|
||
|
of spirits on account of Boldwood's absence, approached
|
||
|
her hayfields and looked over the hedge towards the
|
||
|
haymakers. They consisted in about equal proportions
|
||
|
of gnarled and flexuous forms, the former being the
|
||
|
men, the latter the women, who wore tilt bonnets
|
||
|
covered with nankeen, which hung in a curtain upon
|
||
|
their shoulders. Coggan and Mark Clark were mowing
|
||
|
in a less forward meadow, Clark humming a tune to
|
||
|
the strokes of his scythe, to which Jan made no attempt
|
||
|
to keep time with his. In the first mead they were
|
||
|
already loading hay, the women raking it into cocks
|
||
|
and windrows, and the men tossing it upon the
|
||
|
waggon.
|
||
|
From behind the waggon a bright scarlet spot
|
||
|
emerged, and went on loading unconcernedly with the
|
||
|
rest. It was the gallant sergeant, who had come hay-
|
||
|
making for pleasure; and nobody could deny that he
|
||
|
was doing the mistress of the farm real knight-service
|
||
|
by this voluntary contribution of his labour at a busy
|
||
|
time.
|
||
|
As soon as she had entered the field Troy saw her,
|
||
|
and sticking his pitchfork into the ground and picking
|
||
|
up his crop or cane, he came forward. Bathsheba
|
||
|
blushed with half-angry embarrassment, and adjusted
|
||
|
her eyes as well as her feet to the direct line of her
|
||
|
path.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXVI
|
||
|
|
||
|
|
||
|
|
||
|
SCENE ON THE VERGE OF THE HAY-MEAD
|
||
|
|
||
|
|
||
|
"AH, Miss Everdene!" said the sergeant, touching his
|
||
|
diminutive cap. "Little did I think it was you I was
|
||
|
speaking to the other night. And yet, if I had reflected,
|
||
|
the "Queen of the Corn-market" (truth is truth at any
|
||
|
hour of the day or night, and I heard you so named in
|
||
|
Casterbridge yesterday), the "Queen of the Corn-market."
|
||
|
I say, could be no other woman. I step across now to
|
||
|
beg your forgiveness a thousand times for having been
|
||
|
led by my feelings to express myself too strongly for a
|
||
|
stranger. To be sure I am no stranger to the place --
|
||
|
I am Sergeant Troy, as I told you, and I have assisted
|
||
|
your uncle in these fields no end of times when I was a
|
||
|
lad. I have been doing the same for you today."
|
||
|
"I suppose I must thank you for that, Sergeant
|
||
|
Troy." said the Queen of the Corn-market, in an in-
|
||
|
differently grateful tone.
|
||
|
The sergeant looked hurt and sad. "Indeed you
|
||
|
must not, Miss Everdene." he said. "Why could you
|
||
|
think such a thing necessary?"
|
||
|
"I am glad it is not."
|
||
|
"Why? if I may ask without offence."
|
||
|
"Because I don't much want to thank you for any"
|
||
|
thing."
|
||
|
"I am afraid I have made a hole with my tongue
|
||
|
that my heart will never mend. O these intolerable
|
||
|
times: that ill-luck should follow a man for honestly
|
||
|
telling a woman she is beautiful! 'Twas the most I
|
||
|
said -- you must own that; and the least I could say --
|
||
|
that I own myself."
|
||
|
"There is some talk I could do without more easily
|
||
|
than money."
|
||
|
"Indeed. That remark is a sort of digression."
|
||
|
"No. It means that I would rather have your room
|
||
|
than your company."
|
||
|
"And I would rather have curses from you than
|
||
|
kisses from any other woman; so I'll stay here."
|
||
|
Bathsheba was absolutely speechless. And yet she
|
||
|
could not help feeling that the assistance he was render-
|
||
|
ing forbade a harsh repulse.
|
||
|
"Well." continued Troy, "I suppose there is a praise
|
||
|
which is rudeness, and that may be mine. At the
|
||
|
same time there is a treatment which is injustice, and
|
||
|
that may be yours. Because a plain blunt man, who
|
||
|
has never been taught concealment, speaks out his
|
||
|
mind without exactly intending it, he's to be snapped
|
||
|
off like the son of a sinner."
|
||
|
"Indeed there's no such case between us." she said,
|
||
|
turning away. "I don't allow strangers to be bold and
|
||
|
impudent -- even in praise of me."
|
||
|
"Ah -- it is not the fact but the method which offends
|
||
|
you." he said, carelessly. "But I have the sad satis-
|
||
|
faction of knowing that my words, whether pleasing or
|
||
|
offensive, are unmistakably true. Would you have had
|
||
|
me look at you, and tell my acquaintance that you are
|
||
|
quite a common-place woman, to save you the embar-
|
||
|
rassment of being stared at if they come near you?
|
||
|
Not I. I couldn't tell any such ridiculous lie about
|
||
|
a beauty to encourage a single woman in England in
|
||
|
too excessive a modesty."
|
||
|
"It is all pretence -- what you are saying!" exclaimed
|
||
|
Bathsheba, laughing in spite of herself at the sergeant's
|
||
|
sly method. "You have a rare invention, Sergeant
|
||
|
Troy. Why couldn't you have passed by me that
|
||
|
night, and said nothing? -- that was all I meant to
|
||
|
reproach you for."
|
||
|
"Because I wasn't going to. Half the pleasure of
|
||
|
a feeling lies in being able to express it on the spur of
|
||
|
the moment, and I let out mine. It would have been
|
||
|
just the same if you had been the reverse person -- ugly
|
||
|
and old -- I should have exclaimed about it in the same
|
||
|
way. "
|
||
|
"How long is it since you have been so afflicted with
|
||
|
strong feeling, then?"
|
||
|
"Oh, ever since I was big enough to know loveliness
|
||
|
from deformity."
|
||
|
"'Tis to be hoped your sense of the difference you
|
||
|
speak of doesn't stop at faces, but extends to morals as
|
||
|
well. "
|
||
|
"I won't speak of morals or religion -- my own or
|
||
|
anybody else's. Though perhaps I should have been a
|
||
|
very good Christian if you pretty women hadn't made
|
||
|
me an idolater."
|
||
|
Bathsheba moved on to hide the irrepressible dimp-
|
||
|
lings of merriment. Troy followed, whirling his crop.
|
||
|
"But -- Miss Everdene -- you do forgive me?"
|
||
|
"Hardly. "
|
||
|
"Why?"
|
||
|
"You say such things."
|
||
|
"I said you were beautiful, and I'll say so still; for,
|
||
|
by -- so you are! The most beautiful ever I saw, or
|
||
|
may I fall dead this instant! Why, upon my -- -- "
|
||
|
"Don't -- don't! I won't listen to you -- you are so
|
||
|
profane!" she said, in a restless state between distress
|
||
|
at hearing him and a penchant to hear more.
|
||
|
"I again say you are a most fascinating woman.
|
||
|
There's nothing remarkable in my saying so, is there?
|
||
|
I'm sure the fact is evident enough. Miss Everdene,
|
||
|
my opinion may be too forcibly let out to please you,
|
||
|
and, for the matter of that, too insignificant to convince
|
||
|
you, but surely it is honest, and why can't it be ex-
|
||
|
cused? "
|
||
|
"Because it -- it isn't a correct one." she femininely
|
||
|
murmured.
|
||
|
"O, fie -- fie-! Am I any worse for breaking the
|
||
|
third of that Terrible Ten than you for breaking the
|
||
|
ninth?"
|
||
|
"Well, it doesn't seem quite true to me that I am
|
||
|
fascinating." she replied evasively.
|
||
|
"Not so to you: then I say with all respect that, if
|
||
|
so, it is owing to your modesty, Miss Everdene. But
|
||
|
surely you must have been told by everybody of what
|
||
|
everybody notices? and you should take their words
|
||
|
for it."
|
||
|
"They don't say so exactly."
|
||
|
"O yes, they must!"
|
||
|
"Well, I mean to my face, as you do." she went on,
|
||
|
allowing herself to be further lured into a conversation
|
||
|
that intention had rigorously forbidden.
|
||
|
"But you know they think so?"
|
||
|
"No -- that is -- I certainly have heard Liddy say
|
||
|
they do, but -- --" She paused.
|
||
|
Capitulation -- that was the purport of the simple
|
||
|
reply, guarded as it was -- capitulation, unknown to her-
|
||
|
self. Never did a fragile tailless sentence convey a
|
||
|
more perfect meaning. The careless sergeant smiled
|
||
|
within himself, and probably too the devil smiled from
|
||
|
a loop-hole in Tophet, for the moment was the turning-
|
||
|
point of a career. Her tone and mien signified beyond
|
||
|
mistake that the seed which was to lift the foundation
|
||
|
had taken root in the chink: the remainder was a mere
|
||
|
question of time and natural changes.
|
||
|
"There the truth comes out!" said the soldier, in
|
||
|
reply. "Never tell me that a young lady can live in a
|
||
|
buzz of admiration without knowing something about it.
|
||
|
Ah." well, Miss Everdene, you are -- pardon my blunt
|
||
|
way -- you are rather an injury to our race than other-
|
||
|
wise.
|
||
|
"How -- indeed?" she said, opening her eyes.
|
||
|
"O, it is true enough. I may as well be hung for
|
||
|
a sheep as a lamb (an old country saying, not of much
|
||
|
account, but it will do for a rough soldier), and so I
|
||
|
will speak my mind, regardless of your pleasure, and
|
||
|
without hoping or intending to get your pardon. Why,
|
||
|
Miss Everdene, it is in this manner that your good
|
||
|
looks may do more. harm than good in the world."
|
||
|
The sergeant looked down the mead in critical abstrac-
|
||
|
ion. "Probably some one man on an average falls in"
|
||
|
love, with each ordinary woman. She can marry him:
|
||
|
he is content, and leads a useful life. Such women as
|
||
|
you a hundred men always covet -- your eyes will be-
|
||
|
witch scores on scores into an unavailing fancy for you
|
||
|
you can only marry one of that many. Out of these
|
||
|
say twenty will endeavour to. drown the bitterness of
|
||
|
espised love in drink; twenty more will mope away
|
||
|
their lives without a wish or attempt to make a mark in
|
||
|
he world, because they have no ambition apart from
|
||
|
their attachment to you; twenty more -- the susceptible
|
||
|
person myself possibly among them -- will be always
|
||
|
draggling after you, getting where they may just see
|
||
|
you, doing desperate things. Men are such constant
|
||
|
fools! The rest may try to get over their passion with
|
||
|
more or less success. But all these men will be
|
||
|
saddened. And not only those ninety-nine men, but
|
||
|
the ninety-nine women they might have married are
|
||
|
saddened with them. There's my tale. That's why I
|
||
|
say that a woman so charming as yourself, Miss Ever-
|
||
|
dene, is hardly a blessing to her race."
|
||
|
The handsome sergeant's features were during this
|
||
|
speech as rigid and stern as John Knox's in addressing
|
||
|
his gay young queen.
|
||
|
Seeing she made no reply, he said, "Do you read
|
||
|
French?"
|
||
|
"No; I began, but when I got to the verbs, father
|
||
|
died." she said simply.
|
||
|
"I do -- when I have an opportunity, which latterly
|
||
|
has not been often (my mother was a Parisienne) -- and
|
||
|
there's a proverb they have, Qui aime bien chatie bien
|
||
|
-- "He chastens who loves well." Do you understand
|
||
|
me?
|
||
|
"Ah!" she replied, and there was even a little tremu-
|
||
|
lousness in the usually cool girl's voice; "if you can
|
||
|
only fight half as winningly as you can talk, you are
|
||
|
able to make a pleasure of a bayonet wound!" And
|
||
|
then poor Bathsheba instantly perceived her slip in
|
||
|
making this admission: in hastily trying to retrieve it,
|
||
|
she went from bad to worse. "Don't, however, suppose
|
||
|
that I derive any pleasure from what you tell me."
|
||
|
"I know you do not -- I know it perfectly." said Troy,
|
||
|
with much hearty conviction on the exterior of his face:
|
||
|
and altering the expression to moodiness; "when a
|
||
|
dozen men arfe ready to speak tenderly to you, and
|
||
|
give the admiration you deserve without adding the
|
||
|
warning you need, it stands to reason that my poor
|
||
|
rough-and-ready mixture of praise and blame cannot
|
||
|
convey much pleasure. Fool as I may be, I am not so
|
||
|
conceited as to suppose that!"
|
||
|
"I think you -- are conceited, nevertheless." said
|
||
|
Bathsheba, looking askance at a reed she was fitfully
|
||
|
pulling with one hand, having lately grown feverish
|
||
|
under the soldier's system of procedure -- not because
|
||
|
the nature of his cajolery was entirely unperceived, but
|
||
|
because its vigour was overwhelming.
|
||
|
"I would not own it to anybody else -- nor do I
|
||
|
exactly to you. Still, there might have been some self-
|
||
|
conceit in my foolish supposition the other night. I
|
||
|
knew that what I said in admiration might be an
|
||
|
opinion too often forced upon you to give any pleasure
|
||
|
but I certainly did think that the kindness of your
|
||
|
nature might prevent you judging an uncontrolled
|
||
|
tongue harshly -- which you have done -- and thinking
|
||
|
badly of me and wounding me this morning, when I
|
||
|
am working hard to save your hay."
|
||
|
"Well, you need not think more of that: perhaps you
|
||
|
did not mean to be rude to me by speaking out your
|
||
|
mind: indeed, I believe you did not." said the shrewd
|
||
|
woman, in painfully innocent earnest. "And I thank
|
||
|
you for giving help here. But -- but mind you don't
|
||
|
speak to me again in that way, or in any other, unless
|
||
|
I speak to you."
|
||
|
"O, Miss Bathsheba! That is to hard!"
|
||
|
"No, it isn't. Why is it?"
|
||
|
"You will never speak to me; for I shall not be
|
||
|
here long. I am soon going back again to the miser-
|
||
|
able monotony of drill -- and perhaps our regiment will
|
||
|
be ordered out soon. And yet you take away the one
|
||
|
little ewe-lamb of pleasure that I have in this dull life
|
||
|
of mine. Well, perhaps generosity is not a woman's
|
||
|
most marked characteristic."
|
||
|
"When are you going from here?" she asked, with
|
||
|
some interest.
|
||
|
"In a month."
|
||
|
"But how can it give you pleasure to speak to me?"
|
||
|
"Can you ask Miss Everdene -- knowing as you do
|
||
|
-- what my offence is based on?"
|
||
|
"I you do care so much for a silly trifle of that
|
||
|
kind, then, I don't mind doing it." she uncertainly and
|
||
|
doubtingly answered. "But you can't really care for a
|
||
|
word from me? you only say so -- I think you only
|
||
|
say so."
|
||
|
"that's unjust -- but I won't repeat the remark. I
|
||
|
am too gratified to get such a mark of your friendship
|
||
|
at any price to cavil at the tone. I do Miss Everdene,
|
||
|
care for it. You may think a man foolish to want a
|
||
|
mere word -- just a good morning. Perhaps he is -- I
|
||
|
don't know. But you have never been a man looking
|
||
|
upon a woman, and that woman yourself."
|
||
|
"Well."
|
||
|
"Then you know nothing of what such an experience
|
||
|
is like -- and Heaven forbid that you ever should!"
|
||
|
"Nonsense, flatterer! What is it like? I am
|
||
|
interested in knowing."
|
||
|
"Put shortly, it is not being able to think, hear, or
|
||
|
look in any direction except one without wretchedness,
|
||
|
nor there without torture."
|
||
|
"Ah, sergeant, it won't do -- you are pretending!" she
|
||
|
said, shaking her head." Your words are too dashing
|
||
|
to be true."
|
||
|
"I am not, upon the honour of a soldier"
|
||
|
"But why is it so? -- Of course I ask for mere pas-
|
||
|
time."
|
||
|
Because you are so distracting -- and I am so
|
||
|
distracted. "
|
||
|
"You look like it."
|
||
|
"I am indeed."
|
||
|
"Why, you only saw me the other night!"
|
||
|
"That makes no difference. The lightning works in-
|
||
|
stantaneously. I loved you then, at once -- as I do now."
|
||
|
Bathsheba surveyed him curiously, from the feet
|
||
|
upward, as high as she liked to venture her glance,
|
||
|
which was not quite so high as his eyes.
|
||
|
"You cannot and you don"t." she said demurely.
|
||
|
"There is-no such sudden feeling in people. I won't
|
||
|
listen to you any longer. Hear me, I wish I knew what
|
||
|
o'clock it is -- I am going -- I have wasted too much time
|
||
|
here already!"
|
||
|
The sergeant looked at his watch and told her.
|
||
|
"What, haven't you a watch, miss?" he inquired.
|
||
|
"I have not just at present -- I am about to get a
|
||
|
new one."
|
||
|
"No. You shall be given one. Yes -- you shall.
|
||
|
A gift, Miss Everdene -- a gift."
|
||
|
And before she knew what the young -- man was
|
||
|
intending, a heavy gold watch was in her hand.
|
||
|
"It is an unusually good one for a man like me to
|
||
|
possess." he quietly said. "That watch has a history.
|
||
|
Press the spring and open the back."
|
||
|
She did so.
|
||
|
"What do you see?"
|
||
|
"A crest and a motto."
|
||
|
"A coronet with five points, and beneath, Cedit amor
|
||
|
rebus -- "Love yields to circumstance." It's the motto
|
||
|
of the Earls of Severn. That watch belonged to the
|
||
|
last lord, and was given to my mother's husband, a
|
||
|
medical man, for his use till I came of age, when it was
|
||
|
to be given to me. It was all the fortune that ever I
|
||
|
inherited. That watch has regulated imperial interests
|
||
|
in its time -- the stately ceremonial, the courtly assigna-
|
||
|
tion, pompous travels, and lordly sleeps. Now it is
|
||
|
yours.
|
||
|
"But, Sergeant Troy, I cannot take this -- I cannot!"
|
||
|
she exclaimed, with round-eyed wonder. "A gold watch!
|
||
|
What are you doing? Don't be such a dissembler!"
|
||
|
The sergeant retreated to avoid receiving back his
|
||
|
gift, which she held out persistently towards him.
|
||
|
Bathsheba followed as he retired.
|
||
|
"Keep it -- do, Miss Everdene -- keep it!" said the
|
||
|
erratic child of impulse. "The fact of your possessing
|
||
|
it makes it worth ten times as much to me. A more
|
||
|
plebeian one will answer my purpose just as well, and
|
||
|
the pleasure of knowing whose heart my old one beats
|
||
|
against -- well, I won't speak of that. It is in far
|
||
|
worthier hands than ever it has been in before."
|
||
|
"But indeed I can't have it!" she said, in a perfect
|
||
|
simmer of distress. "O, how can you do such a thing;
|
||
|
that is if you really mean it! Give me your dead
|
||
|
father's watch, and such a valuable one! You should
|
||
|
not be so reckless, indeed, Sergeant Troy!"
|
||
|
"I loved my father: good; but better, I love you
|
||
|
more. That's how I can do it." said the sergeant, with
|
||
|
an intonation of such exquisite fidelity to nature that it.
|
||
|
was evidently not all acted now. Her beauty, which,
|
||
|
whilst it had been quiescent, he had praised in jest,
|
||
|
had in its animated phases moved him to earnest; and
|
||
|
though his seriousness was less than she imagined, it
|
||
|
was probably more than he imagined himself.
|
||
|
Bathsheba was brimming with agitated bewilderment,
|
||
|
and she said, in half-suspicious accents of feeling, "Can
|
||
|
it be! O, how can it be, that you care for me, and
|
||
|
so suddenly,! You have seen so little of me: I may
|
||
|
not be really so -- so nice-looking as I seem to you.
|
||
|
Please, do take it; O, do! I cannot and will not have
|
||
|
it. Believe me, your generosity is too great. I have
|
||
|
never done you a single kindness, and why should you
|
||
|
be so kind to me?"
|
||
|
A factitious reply had been again upon his lips, but
|
||
|
it was again suspended, and he looked at her with an
|
||
|
arrested eye. The truth was, that as she now stood --
|
||
|
excited, wild, and honest as the day -- her alluring
|
||
|
beauty bore out so fully the epithets he had bestowed
|
||
|
upon it that he was quite startled at his temerity in
|
||
|
advancing them as false. He said mechanically, "Ah,
|
||
|
why?" and continued to look at her.
|
||
|
"And my workfolk see me following you about the
|
||
|
field, and are wondering. O, this is dreadful!" she
|
||
|
went on, unconscious of the transmutation she was
|
||
|
effecting.
|
||
|
"I did not quite mean you to accept it at first, for it
|
||
|
as my one poor patent of nobility." he broke out,
|
||
|
bluntly; "but, upon my soul, I wish you would now.
|
||
|
Without any shamming, come! Don't deny me the
|
||
|
happiness of wearing it for my sake? But you are too
|
||
|
lovely even to care to be kind as others are."
|
||
|
"No, no; don"t say so! I have reasons for reserve
|
||
|
which I cannot explain."
|
||
|
"bet it be, then, let it be." he said, receiving back
|
||
|
the watch at last; "I must be leaving you now. And
|
||
|
will you speak to me for these few weeks of my stay?"
|
||
|
"Indeed I will. Yet, I don't know if I will! O,
|
||
|
why did you come and disturb me so!"
|
||
|
"Perhaps in setting a gin, I have caught myself.
|
||
|
Such things have happened. Well, will you let me
|
||
|
work in your fields?" he coaxed.
|
||
|
"Yes, I suppose so; if it is any pleasure to you."
|
||
|
"Miss Everdene, I thank you.
|
||
|
"No, no."
|
||
|
"Good-bye!"
|
||
|
The sergeant brought his hand to the cap on the
|
||
|
slope of his head, saluted, and returned to the distant
|
||
|
group of haymakers.
|
||
|
Bathsheba could not face the haymakers now. Her
|
||
|
heart erratically flitting hither and thither from per-
|
||
|
plexed excitement, hot, and almost tearful, she retreated
|
||
|
homeward, murmuring, O, what have I done! What
|
||
|
does it mean! I wish I knew how much of it was
|
||
|
true!
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXVII
|
||
|
|
||
|
|
||
|
|
||
|
HIVING THE BEES
|
||
|
|
||
|
|
||
|
THE Weatherbury bees were late in their swarming this
|
||
|
year. It was in the latter part of June, and the day after
|
||
|
the interview with Troy in the hayfield, that Bathsheba
|
||
|
was standing in her garden, watching a swarm in the
|
||
|
air and guessing their probable settling place. Not only
|
||
|
were they late this year, but unruly. Sometimes through-
|
||
|
out a whole season all the swarms would alight on the
|
||
|
lowest attainable bough -- such as part of a currant-bush
|
||
|
or espalier apple-tree; next year they would, with just
|
||
|
the same unanimity, make straight off to the uppermost
|
||
|
member of some tall, gaunt costard, or quarrenden,
|
||
|
and there defy all invaders who did not come armed
|
||
|
with ladders and staves to take them.
|
||
|
This was the case at present. Bathsheba's eyes,
|
||
|
shaded by one hand, were following the ascending
|
||
|
multitude against the unexplorable stretch of blue till
|
||
|
they ultimately halted by one of the unwieldy trees
|
||
|
spoken of. A process somewhat analogous to that of
|
||
|
alleged formations of the universe, time and times ago,
|
||
|
was observable. The bustling swarm had swept the sky
|
||
|
in a scattered and uniform haze, which now thickened to
|
||
|
a nebulous centre: this glided on to a bough and grew
|
||
|
still denser, till it formed a solid black spot upon the
|
||
|
light.
|
||
|
The men and women being all busily engaged in
|
||
|
saving the hay -- even Liddy had left the house for the
|
||
|
purpose of lending a hand -- Bathsheba resolved to hive
|
||
|
the bees herself, if possible. She had dressed the hive
|
||
|
with herbs and honey, fetched a ladder, brush, and
|
||
|
crook, made herself impregnable with armour of leather
|
||
|
gloves, straw hat, and large gauze veil -- once green but
|
||
|
now faded to snuff colour -- and ascended a dozen rungs
|
||
|
of the ladder. At once she heard, not ten yards off,
|
||
|
a voice that was beginning to have a strange power in
|
||
|
agitating her.
|
||
|
"Miss Everdene, let me assist you; you should not
|
||
|
attempt such a thing alone."
|
||
|
Troy was just opening the garden gate.
|
||
|
Bathsheba flung down the brush, crook, and empty
|
||
|
hive, pulled the skirt of her dress tightly round her
|
||
|
ankles in a tremendous flurry, and as well as she could
|
||
|
slid down the ladder. By the time she reached the
|
||
|
bottom Troy was there also, and he stooped to pick
|
||
|
up the hive.
|
||
|
"How fortunate I am to have dropped in at this
|
||
|
moment!" exclaimed the sergeant.
|
||
|
She found her voice in a minute. "What! and will
|
||
|
you shake them in for me?" she asked, in what, for a
|
||
|
defiant girl, was a faltering way; though, for a timid
|
||
|
girl, it would have seemed a brave way enough.
|
||
|
"Will I!" said Troy. "Why, of course I will. How
|
||
|
blooming you are to-day!" Troy flung down his cane
|
||
|
and put his foot on the ladder to ascend.
|
||
|
"But you must have on the veil and gloves, or you'll
|
||
|
be stung fearfully!"
|
||
|
"Ah, yes. I must put on the veil and gloves. Will
|
||
|
you kindly show me how to fix them properly?"
|
||
|
"And you must have the broad-brimmed hat, too, for
|
||
|
your cap has no brim to keep the veil off, and they'd
|
||
|
reach your face."
|
||
|
"The broad-brimmed hat, too, by all means."
|
||
|
So a whimsical fate ordered that her hat should be
|
||
|
taken off -- veil and all attached -- and placed upon his
|
||
|
head, Troy tossing his own into a gooseberry bush.
|
||
|
Then the veil had to be tied at its lower edge round
|
||
|
his collar and the gloves put on him.
|
||
|
He looked such an extraordinary object in this guise
|
||
|
that, flurried as she was, she could not avoid laughing
|
||
|
outright. It was the removal of yet another stake from
|
||
|
the palisade of cold manners which had kept him off
|
||
|
Bathsheba looked on from the ground whilst he was
|
||
|
busy sweeping and shaking the bees from the tree,
|
||
|
holding up the hive with the other hand for them to
|
||
|
fall into. She made use of an unobserved minute
|
||
|
whilst his attention was absorbed in the operation to
|
||
|
arrange her plumes a little. He came down holding
|
||
|
the hive at arm's length, behind which trailed a cloud
|
||
|
of bees.
|
||
|
"Upon my life." said Troy, through the veil," holding
|
||
|
up this hive makes one's arm ache worse than a week
|
||
|
of sword-exercise." When the manoeuvre was complete
|
||
|
he approached her. "Would you be good enough to
|
||
|
untie me and let me out? I am nearly stifled inside
|
||
|
this silk cage."
|
||
|
To hide her embarrassment during the unwonted
|
||
|
process of untying the string about his neck, she said: --
|
||
|
"I have never seen that you spoke of."
|
||
|
"What?"
|
||
|
"The sword-exercise."
|
||
|
"Ah! would you like to?" said Troy.
|
||
|
Bathsheba hesitated. She had heard wondrous
|
||
|
reports from time to time by dwellers in Weatherbury,
|
||
|
who had by chance sojourned awhile in Casterbridge,
|
||
|
near the barracks, of this strange and glorious perform-
|
||
|
ance, *tlie sword-exercise. Men and boys who had
|
||
|
peeped through chinks or over walls into the barrack-
|
||
|
yard returned with accounts of its being the most
|
||
|
flashing affair conceivable; accoutrements and weapons
|
||
|
glistening like stars-here,there,around-yet all by rule
|
||
|
and compass. So she said mildly what she felt strongly.
|
||
|
"Yes; I should like to see it very much."
|
||
|
"And so you shall; you shall see me go through it."
|
||
|
"No! How?"
|
||
|
"Let me consider."
|
||
|
"Not with a walking-stick -- I don't care to see that.
|
||
|
lt must be a real sword."
|
||
|
"Yes, I know; and I have no sword here; but I
|
||
|
think I could get one by the evening. Now, will you
|
||
|
do this?"
|
||
|
"O no, indeed!" said Bathsheba, blushing." Thank
|
||
|
you very much, but I couldn't on any account.
|
||
|
"Surely you might? Nobody would know."
|
||
|
She shook her head, but with a weakened negation.
|
||
|
"If I were to." she said, "I must bring Liddy too. Might
|
||
|
I not?"
|
||
|
Troy looked far away. "I don't see why you want
|
||
|
to bring her." he said coldly.
|
||
|
An unconscious look of assent in Bathsheba's eyes
|
||
|
betrayed that something more than his coldness had
|
||
|
made her also feel that Liddy Would be superfluous in
|
||
|
the suggested scene. She had felt it, even whilst making
|
||
|
the proposal.
|
||
|
"Well, I won't bring Liddy -- and I'll come. But
|
||
|
only for a very short time." she added; "a very short
|
||
|
time."
|
||
|
"It will not take five minutes." said Troy.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXVIII
|
||
|
|
||
|
|
||
|
|
||
|
THE HOLLOW AMID THE FERNS
|
||
|
|
||
|
|
||
|
THE hill opposite Bathsheba's dwelling extended, a
|
||
|
mile off, into an uncultivated tract of land, dotted at
|
||
|
this season with tall thickets of brake fern, plump and
|
||
|
diaphanous from recent rapid growth, and radiant in
|
||
|
hues of clear and untainted green.
|
||
|
At eight o'clock this midsummer evening, whilst the
|
||
|
bristling ball of gold in the west still swept the tips of
|
||
|
the ferns with its long, luxuriant rays, a soft brushing-
|
||
|
by of garments might have been heard among them,
|
||
|
and Bathsheba appeared in their midst, their soft,
|
||
|
feathery arms caressing her up to her shoulders. She
|
||
|
paused, turned, went back over the hill and half-way
|
||
|
to her own door, whence she cast a farewell glance upon
|
||
|
the spot she had just left, having resolved not to remain
|
||
|
near the place after all.
|
||
|
She saw a dim spot of artificial red moving round
|
||
|
the shoulder of the rise. It disappeared on the other
|
||
|
side.
|
||
|
She waited one minute -- two minutes -- thought of
|
||
|
Troy's disappointment at her non-fulfilment of a promised
|
||
|
engagement, till she again ran along the field, clambered
|
||
|
over the bank, and followed the original direction. She
|
||
|
was now literally trembling and panting at this her
|
||
|
temerity in such an errant undertaking; her breath
|
||
|
came and went quickly, and her eyes shone with an in-
|
||
|
frequent light. Yet go she must. She reached the
|
||
|
verge of a pit in the middle of the ferns. Troy stood
|
||
|
in the bottom, looking up towards her.
|
||
|
"I heard you rustling through the fern before I saw
|
||
|
you." he said, coming up and giving her his hand to help
|
||
|
her down the slope.
|
||
|
The pit was a saucer-shaped concave, naturally
|
||
|
formed, with a top diameter of about thirty feet, and
|
||
|
shallow enough to allow the sunshine to reach their
|
||
|
heads. Standing in the centre, the sky overhead was
|
||
|
met by a circular horizon of fern: this grew nearly to
|
||
|
the bottom of the slope and then abruptly ceased. The
|
||
|
middle within the belt of verdure was floored with a
|
||
|
thick flossy carpet of moss and grass intermingled, so
|
||
|
yielding that the foot was half-buried within it.
|
||
|
"Now." said Troy, producing the sword, which, as he
|
||
|
raised it into the sunlight, gleamed a sort of greeting,
|
||
|
like a living thing, "first, we have four right and four
|
||
|
left cuts; four right and four left thrusts. Infantry cuts
|
||
|
and guards are more interesting than ours, to my mind;
|
||
|
but they are not so swashing. They have seven cuts
|
||
|
and three thrusts. So much as a preliminary. Well,
|
||
|
next, our cut one is as if you were sowing your corn --
|
||
|
so." Bathsheba saw a sort of rainbow, upside down in
|
||
|
the air, and Troy's arm was still again. "Cut two, as if
|
||
|
you were hedging -- so. Three, as if you were reaping
|
||
|
-- so." Four, as if you were threshing -- in that way.
|
||
|
"Then the same on the left. The thrusts are these: one,
|
||
|
two, three, four, right; one, two, three, four, left." He
|
||
|
repeated them. "Have 'em again?" he said. "One,
|
||
|
two -- -- "
|
||
|
She hurriedly interrupted: "I'd rather not; though
|
||
|
I don't mind your twos and fours; but your ones and
|
||
|
threes are terrible!"
|
||
|
"Very well. I'll let you off the ones and threes.
|
||
|
Next, cuts, points and guards altogether." Troy duly
|
||
|
exhibited them. "Then there's pursuing practice, in
|
||
|
this way." He gave the movements as before. "There,
|
||
|
those are the stereotyped forms. The infantry have
|
||
|
two most diabolical upward cuts, which we are too
|
||
|
humane to use. Like this -- three, four."
|
||
|
"How murderous and bloodthirsty!"
|
||
|
"They are rather deathy. Now I'll be more inter-
|
||
|
esting, and let you see some loose play -- giving all the
|
||
|
cuts and points, infantry and cavalry, quicker than
|
||
|
lightning, and as promiscuously -- with just enough rule
|
||
|
to regulate instinct and yet not to fetter it. You are
|
||
|
my antagonist, with this difference from real warfare,
|
||
|
that I shall miss you every time by one hair's breadth,
|
||
|
or perhaps two. Mind you don't flinch, whatever you
|
||
|
do."
|
||
|
I'll be sure not to!" she said invincibly.
|
||
|
He pointed to about a yard in front of him.
|
||
|
Bathsheba's adventurous spirit was beginning to find
|
||
|
some grains of relish in these highly novel proceedings.
|
||
|
She took up her position as directed, facing Troy.
|
||
|
"Now just to learn whether you have pluck enough
|
||
|
to let me do what I wish, I'll give you a preliminary
|
||
|
test."
|
||
|
He flourished the sword by way of introduction
|
||
|
number two, and the next thing of which she was
|
||
|
conscious was that the point and blade of the sword
|
||
|
were darting with a gleam towards her left side, just
|
||
|
above her hip; then of their reappearance on her right
|
||
|
side, emerging as it were from between her ribs, having
|
||
|
apparently passed through her body. The third item
|
||
|
of consciousness was that of seeing the same sword,
|
||
|
perfectly clean and free from blood held vertically in
|
||
|
Troy's hand (in the position technically called "recover
|
||
|
swords"). All was as quick as electricity.
|
||
|
"Oh!" she cried out in affright, pressing her hand to
|
||
|
her side." Have you run me through? -- no, you have
|
||
|
not! Whatever have you done!"
|
||
|
"I have not touched you." said Troy, quietly. "It
|
||
|
was mere sleight of hand. The sword passed behind
|
||
|
you. Now you are not afraid, are you? Because if
|
||
|
you are l can't perform. I give my word that l will
|
||
|
not only not hurt you, but not once touch you."
|
||
|
"I don't think I am afraid. You are quite sure you
|
||
|
will not hurt me?"
|
||
|
"Quite sure."
|
||
|
"Is the sWord very sharp?"
|
||
|
"O no -- only stand as still as a statue. Now!"
|
||
|
In an instant the atmosphere was transformed to
|
||
|
Bathsheba's eyes. Beams of light caught from the low
|
||
|
sun's rays, above, around, in front of her, well-nigh shut
|
||
|
out earth and heaven -- all emitted in the marvellous
|
||
|
evolutions of Troy's reflecting blade, which seemed
|
||
|
everywhere at once, and yet nowherre specially. These
|
||
|
circling gleams were accompanied by a keen rush that
|
||
|
was almost a whistling -- also springing from all sides of
|
||
|
her at once. In short, she was enclosed in a firmament
|
||
|
of light, and of sharp hisses, resembling a sky-full of
|
||
|
meteors close at hand.
|
||
|
Never since the broadsword became the national
|
||
|
weapon had there been more dexterity shown in its
|
||
|
management than by the hands of Sergeant Troy, and
|
||
|
never had he been in such splendid temper for the
|
||
|
performance as now in the evening sunshine among the
|
||
|
ferns with Bathsheba. It may safely be asserted with
|
||
|
respect to the closeness of his cuts, that had it been
|
||
|
possible for the edge of the sword to leave in the air a
|
||
|
permanent substance wherever it flew past, the space
|
||
|
left untouched would have been almost a mould of
|
||
|
Bathsheba's figure.
|
||
|
Behind the luminous streams of this aurora militaris,
|
||
|
she could see the hue of Troy's sword arm, spread in a
|
||
|
scarlet haze over the space covered by its motions, like
|
||
|
a twanged harpstring, and behind all Troy himself,
|
||
|
mostly facing her; sometimes, to show the rear cuts,
|
||
|
half turned away, his eye nevertheless always keenly
|
||
|
measuring her breadth and outline, and his lips tightly
|
||
|
closed in sustained effort. Next, his movements lapsed
|
||
|
slower, and she could see them individually. The
|
||
|
hissing of the sword had ceased, and he stopped
|
||
|
entirely.
|
||
|
"That outer loose lock of hair wants tidying, he
|
||
|
said, before she had moved or spoken. "Wait: I'll do
|
||
|
it for you."
|
||
|
An arc of silver shone on her right side: the sword
|
||
|
had descended. The lock droped to the ground.
|
||
|
"Bravely borne!" said Troy. "You didn't flinch a
|
||
|
shade's thickness. Wonderful in a woman!"
|
||
|
"It was because I didn't expect it. O, you have
|
||
|
spoilt my hair!"
|
||
|
"Only once more."
|
||
|
"No -- no! I am afraid of you -- indeed I am!" she
|
||
|
cried.
|
||
|
"I won't touch you at all -- not even your hair. I
|
||
|
am only going to kill that caterpillar settling on you.
|
||
|
Now: still!"
|
||
|
It appeared that a caterpillar had come from the
|
||
|
fern and chosen the front of her bodice as his resting
|
||
|
place. She saw the point glisten towards her bosom,
|
||
|
and seemingly enter it. Bathsheba closed her eyes in
|
||
|
the full persuasion that she was killed at last. How-
|
||
|
ever, feeling just as usual, she opened them again.
|
||
|
"There it is, look." said the sargeant, holding his
|
||
|
sword before her eyes.
|
||
|
The caterpillar was spitted upon its point.
|
||
|
"Why, it is magic!" said Bathsheba, amazed.
|
||
|
"O no -- dexterity. I merely gave point to your
|
||
|
bosom where the caterpillar was, and instead of running
|
||
|
you through checked the extension a thousandth of an
|
||
|
inch short of your surface."
|
||
|
"But how could you chop off a curl of my hair with
|
||
|
a sword that has no edge?"
|
||
|
"No edge! This sword will shave like a razor.
|
||
|
Look here."
|
||
|
He touched the palm of his hand with the blade,
|
||
|
and then, lifting it, showed her a thin shaving of scarf-
|
||
|
skin dangling therefrom.
|
||
|
"But you said before beginning that it was blunt and
|
||
|
couldn't cut me!"
|
||
|
"That was to get you to stand still, and so make sure
|
||
|
of your safety. The risk of injuring you through your
|
||
|
moving was too great not to force me to tell you a
|
||
|
fib to escape it."
|
||
|
She shuddered. "I have been within an inch of my
|
||
|
life, and didn't know it!"
|
||
|
"More precisely speaking, you have been within half
|
||
|
an inch of being pared alive two hundred and ninety-five
|
||
|
tinies."
|
||
|
"Cruel, cruel, 'tis of you!"
|
||
|
"You have been perfectly safe, nevertheless. My
|
||
|
sword never errs." And Troy returned the weapon to
|
||
|
the scabbard.
|
||
|
Bathsheba, overcome by a hundred tumultuous feel-
|
||
|
ings resulting from the scene, abstractedly sat down on
|
||
|
a tuft of heather.
|
||
|
"I must leave you now." said Troy, softly. "And I'll
|
||
|
venture to take and keep this in remembrance of you."
|
||
|
She saw him stoop to the grass, pick up the winding
|
||
|
lock which he had severed from her manifold tresses,
|
||
|
twist it round his fingers, unfasten a button in the breast
|
||
|
of his coat, and carefully put it inside. She felt power-
|
||
|
less to withstand or deny him. He was altogether too
|
||
|
much for her, and Bathsheba seemed as one who, facing
|
||
|
a reviving wind, finds it blow so strongly that it stops
|
||
|
the breath.
|
||
|
He drew near and said, "I must be leaving you."
|
||
|
He drew nearer still. A minute later and she saw his
|
||
|
scarlet form disappear amid the ferny thicket, almost in
|
||
|
a flash, like a brand swiftly waved.
|
||
|
That minute's interval had brought the blood beating
|
||
|
into her face, set her stinging as if aflame to the very
|
||
|
hollows of her feet, and enlarged emotion to a compass
|
||
|
which quite swamped thought. It had brought upon
|
||
|
her a stroke resulting, as did that of Moses in Horeh, in
|
||
|
a liquid stream -- here a stream of tears. She felt like
|
||
|
one who has sinned a great sin.
|
||
|
The circumstance had been the gentle dip of Troy's
|
||
|
mouth downwards upon her own. He had kissed her.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXIX
|
||
|
|
||
|
|
||
|
|
||
|
PARTICULARS OF A TWILIGHT WALK
|
||
|
|
||
|
|
||
|
WE now see the element of folly distinctly mingling
|
||
|
with the many varying particulars which made up the
|
||
|
character of Bathsheba Everdene. It was almost foreign
|
||
|
to her intrinsic nature. Introduced as lymph on the
|
||
|
dart of Eros, it eventually permeated and coloured
|
||
|
her whole constitution. Bathsheba, though she had too
|
||
|
much understanding to be entirely governed by her
|
||
|
womanliness, had too much womanliness to use her
|
||
|
understanding to the best advantage. Perhaps in no
|
||
|
minor point does woman astonish her helpmate more
|
||
|
than in the strange power she possesses of believing
|
||
|
cajoleries that she knows to be false -- except, indeed, in
|
||
|
that of being utterly sceptical on strictures that she
|
||
|
knows to be true.
|
||
|
Bathsheba loved Troy in the way that only self-reliant
|
||
|
women love when they abandon their self-reliance.
|
||
|
When a strong woman recklessly throws away her
|
||
|
strength she is worse than a weak woman who has never
|
||
|
had any strength to throw away. One source of her
|
||
|
inadequacy is the novelty of the occasion. She has
|
||
|
never had practice in making the best of such a
|
||
|
condition. Weakness is doubly weak by being new.
|
||
|
Bathsheba was not conscious of guile in this matter.
|
||
|
Though in one sense a woman of the world, it was, after
|
||
|
all, that world of daylight coteries and green carpets
|
||
|
wherein cattle form the passing crowd and winds the
|
||
|
busy hum; where a quiet family of rabbits or hares lives
|
||
|
on the other side of your party-wall, where your neigh-
|
||
|
bour is everybody in the tything, and where calculation
|
||
|
formulated self-indulgence of bad, nothing at all. Had
|
||
|
her utmost thoughts in this direction been distinctly
|
||
|
worded (and by herself they never were), they would
|
||
|
only have amounted to such a matter as that she felt
|
||
|
her impulses to be pleasanter guides than her discretion .
|
||
|
Her love was entire as a child's, and though warm as
|
||
|
summer it was fresh as spring. Her culpability lay in
|
||
|
her making no attempt to control feeling by subtle and
|
||
|
careful inquiry into consciences. She could show others
|
||
|
the steep and thorny way, but 'reck'd not her own rede,"
|
||
|
And Troy's deformities lay deep down from a
|
||
|
woman's vision, whilst his embellishments were upon
|
||
|
the very surface; thus contrasting with homely Oak,
|
||
|
whose defects were patent to the blindest, and whose
|
||
|
vertues were as metals in a mine.
|
||
|
The difference between love and respect was mark-
|
||
|
edly shown in her conduct. Bathsheba had spoken of
|
||
|
her interest in Boldwood with the greatest freedom to
|
||
|
Liddy, but she had only communed with her own heart
|
||
|
concerning "Troy".
|
||
|
All this infatuation Gabriel saw, and was troubled
|
||
|
thereby from the time of his daily journey a-field to the
|
||
|
time of his return, and on to the small hours of many a
|
||
|
night. That he was not beloved had hitherto been his
|
||
|
great that Bathsheba was getting into the toils
|
||
|
was now a sorrow greater than the first, and one which
|
||
|
nearly obscured it. It was a result which paralleled
|
||
|
the oft-quoted observation of Hippocrates concerning
|
||
|
physical pains.
|
||
|
That is a noble though perhaps an unpromising love
|
||
|
which not even the fear of breeding aversion in the
|
||
|
bosom of the one beloved can deter from combating his
|
||
|
or her errors. Oak determined to speak to his mistress.
|
||
|
He would base his appeal on what he considered her
|
||
|
unfair treatment of Farmer Boldwood, now absent from
|
||
|
home.
|
||
|
An opportunity occurred one evening when she had
|
||
|
gone for a short walk by a path through the neighbour-
|
||
|
ing cornfields. It was dusk when Oak, who had not
|
||
|
been far a-field that day, took the same path and met
|
||
|
her returning, quite pensively, as he thought.
|
||
|
The wheat was now tall, and the path was narrow;
|
||
|
thus the way was quite a sunken groove between the
|
||
|
embowing thicket on either side. Two persons could
|
||
|
not walk abreast without damaging the crop, and Oak
|
||
|
stood aside to let her pass.
|
||
|
"Oh, is it Gabriel?" she said. "You are taking a
|
||
|
walk too. Good-night."
|
||
|
"I thought I would come to meet you, as it is rather
|
||
|
late," said Oak, turning and following at her heels when
|
||
|
she had brushed somewhat quickly by him.
|
||
|
"Thank you, indeed, but I am not very fearful."
|
||
|
"O no; but there are bad characters about."
|
||
|
"I never meet them."
|
||
|
Now Oak, with marvellous ingenuity, had been going
|
||
|
to introduce the gallant sergeant through the channel of
|
||
|
"bad characters." But all at once the scheme broke
|
||
|
down, it suddenly occurring to him that this was rather a
|
||
|
clumsy way, and too barefaced to begin with. He tried
|
||
|
another preamble.
|
||
|
"And as the man who would naturally come to meet
|
||
|
you is away from home, too -- I mean Farmer Boldwood
|
||
|
-- why, thinks I, I'll go." he said.
|
||
|
"Ah, yes." She walked on without turning her head,
|
||
|
and for many steps nothing further was heard from her
|
||
|
quarter than the rustle of her dress against the heavy
|
||
|
corn-ears. Then she resumed rather tartly --
|
||
|
"I don't quite understand what you meant by saying
|
||
|
that Mr. Boldwood would naturally come to meet me."
|
||
|
I meant on account of the wedding which they say
|
||
|
is likely to take place between you and him, miss. For-
|
||
|
give my speaking plainly."
|
||
|
"They say what is not true." she returned quickly.
|
||
|
No marriage is likely to take place between us."
|
||
|
Gabriel now put forth his unobscured opinion, for
|
||
|
the moment had come. "Well, Miss Everdene." he
|
||
|
said, "putting aside what people say, I never in my life
|
||
|
saw any courting if his is not a courting of you."
|
||
|
Bathsheba would probably have terminated the con-
|
||
|
versation there and then by flatly forbidding the subject,
|
||
|
had not her conscious weakness of position allured her
|
||
|
to palter and argue in endeavours to better it.
|
||
|
"Since this subject has been mentioned." she said
|
||
|
very emphatically, "I am glad of the opportunity of
|
||
|
clearing up a mistake which is very common and very
|
||
|
provoking. I didn't definitely promise Mr. Boldwood
|
||
|
anything. I have never cared for him. I respect him,
|
||
|
and he has urged me to marry him. But I have given
|
||
|
him no distinct answer. As soon as he returns I shall
|
||
|
do so; and the answer will be that I cannot think of
|
||
|
marrying him."
|
||
|
"People are full of mistakes, seemingly."
|
||
|
"They are."
|
||
|
The other day they said you were trifling with him,
|
||
|
and you almost proved that you were not; lately they
|
||
|
have said that you be not, and you straightway begin
|
||
|
to show -- -- "
|
||
|
That I am, I suppose you mean."
|
||
|
"Well, I hope they speak the truth."
|
||
|
They do, but wrongly applied. I don't trifle with
|
||
|
him; but then, I have nothing to do with him."
|
||
|
Oak was unfortunately led on to speak of Boldwood's
|
||
|
rival in a wrong tone to her after all. "I wish you had
|
||
|
never met that young Sergeant Troy, miss." he sighed.
|
||
|
|
||
|
Bathsheba's steps became faintly spasmodic. "Why?"
|
||
|
she asked.
|
||
|
"He is not good enough for 'ee."
|
||
|
"Did any one tell you to speak to me like this?"
|
||
|
"Nobody at all."
|
||
|
"Then it appears to me that Sergeant Troy does not
|
||
|
concern us here." she said, intractably." Yet I must say
|
||
|
that Sergeant Troy is an educated man, and quite worthy
|
||
|
of any woman. He is well born."
|
||
|
"His being higher in learning and birth than the
|
||
|
ruck o' soldiers is anything but a proof of his worth. It
|
||
|
show's his course to be down'ard."
|
||
|
"I cannot see what this has to do with our conversa-
|
||
|
tion. Mr. Troy's course is not by any means downward;
|
||
|
and his superiority IS a proof of his worth!"
|
||
|
"I believe him to have no conscience at all. And I
|
||
|
cannot help begging you, miss, to have nothing to do
|
||
|
with him. Listen to me this once -- only this once!
|
||
|
I don't say he's such a bad man as I have fancied -- I
|
||
|
pray to God he is not. But since we don't exactly
|
||
|
know what he is, why not behave as if he MIGHT be bad,
|
||
|
simply for your own safety? Don't trust him, mistress;
|
||
|
I ask you not to trust him so."
|
||
|
"Why, pray?"
|
||
|
"I like soldiers, but this one I do not like." he said,
|
||
|
sturdily. "His cleverness in his calling may have
|
||
|
tempted him astray, and what is mirth to the neighbours
|
||
|
is ruin to the woman. When he tries to talk to 'ee again,
|
||
|
why not turn away with a short "Good day," and when
|
||
|
you see him coming one way, turn the other. When
|
||
|
he says anything laughable, fail to see the point
|
||
|
and don't smile, and speak of him before those who will
|
||
|
report your talk as "that fantastical man." or " that
|
||
|
Sergeant What's-his-name." "That man of a family
|
||
|
that has come to the dogs." Don't be unmannerly
|
||
|
towards en, but harmless-uncivil, and so get rid of the
|
||
|
man."
|
||
|
No Christmas robin detained by a window-pane ever
|
||
|
pulsed as did Bathsheba now.
|
||
|
I say -- I say again -- that it doesn't become you to
|
||
|
talk about him. Why he should be mentioned passes
|
||
|
me quite . she exclaimed desperately. "I know this,
|
||
|
th-th-that he is a thoroughly conscientious man -- blunt
|
||
|
sometimes even to rudeness -- but always speaking his
|
||
|
mind about you plain to your face!"
|
||
|
"Oh."
|
||
|
"He is as good as anybody in this parish! He is
|
||
|
very particular, too, about going to church -- yes, he
|
||
|
is!"
|
||
|
"I am afraid nobody saw him there. I never
|
||
|
did certainly."
|
||
|
"The reason of that is." she said eagerly, " that he goes
|
||
|
in privately by the old tower door, just when the service
|
||
|
commences, and sits at the back of the gallery. He
|
||
|
told me so."
|
||
|
This supreme instance of Troy's goodness fell upon
|
||
|
Gabriel ears like the thirteenth stroke of crazy clock.
|
||
|
It was not only received with utter incredulity as re-
|
||
|
garded itself, but threw a doubt on all the assurances
|
||
|
that had preceded it.
|
||
|
Oak was grieved to find how entirely she trusted him.
|
||
|
He brimmed with deep feeling as he replied in a steady
|
||
|
voice, the steadiness of which was spoilt by the palpable-
|
||
|
ness of his great effort to keep it so: --
|
||
|
"You know, mistress, that I love you, and shall love
|
||
|
you always. I only mention this to bring to your mind
|
||
|
that at any rate I would wish to do you no harm:
|
||
|
beyond that I put it aside. I have lost in the race for
|
||
|
money and good things, and I am not such a fool as to
|
||
|
pretend to 'ee now I am poor, and you have got alto-
|
||
|
gether above me. But Bathsheba, dear mistress, this
|
||
|
I beg you to consider -- that, both to keep yourself well
|
||
|
honoured among the workfolk, and in common generosity
|
||
|
to an honourable man who loves you as well as I, you
|
||
|
PARTICULARS OF A TWILIGHT WALK
|
||
|
should be more discreet in your bearing towards this
|
||
|
soldier."
|
||
|
"Don't, don't, don't!" she exclaimed, in a choking
|
||
|
voice.
|
||
|
"Are ye not more to me than my own affairs, and
|
||
|
even life!" he went on. "Come, listen to me! I am
|
||
|
six years older than you, and Mr. Boldwood is ten years
|
||
|
older than I, and consider -- I do beg of 'ee to consider
|
||
|
before it is too late -- how safe you would be in his
|
||
|
hands!"
|
||
|
Oak's allusion to his own love for her lessened, to
|
||
|
some extent, her anger at his interference; but she
|
||
|
could not really forgive him for letting his wish to marry
|
||
|
her be eclipsed by his wish to do her good, any more
|
||
|
than for his slighting treatment of Troy.
|
||
|
"I wish you to go elsewhere." she commanded, a
|
||
|
paleness of face invisible to the eye being suggested by
|
||
|
the trembling words. "Do not remain on this farm any
|
||
|
longer. I don't want you -- I beg you to go!"
|
||
|
"That's nonsense." said Oak, calmly. "This is the
|
||
|
second time you have pretended to dismiss me; and
|
||
|
what's the use o' it?"
|
||
|
"Pretended! You shall go, sir -- your lecturing I
|
||
|
will not hear! I am mistress here."
|
||
|
"Go, indeed -- what folly will you say next? Treating
|
||
|
me like Dick, Tom and Harry when you know that a
|
||
|
short time ago my position was as good as yours! Upon
|
||
|
my life, Bathsheba, it is too barefaced. You know, too,
|
||
|
that I can't go without putting things in such a strait as
|
||
|
you wouldn't get out of I can't tell when. Unless, indeed,
|
||
|
you'll promise to have an understanding man as bailiff,
|
||
|
or manager, or something. I'll go at once if you'll
|
||
|
promise that."
|
||
|
"I shall have no bailiff; I shall continue to be my
|
||
|
own manager." she said decisively.
|
||
|
"Very well, then; you should be thankful to me for
|
||
|
biding. How would the farm go on with nobody to
|
||
|
mind it but a woman? But mind this, I don't wish
|
||
|
"ee to feel you owe me anything. Not I. What I do,
|
||
|
I do. Sometimes I say I should be as glad as a bird to
|
||
|
leave the place -- for don't suppose I'm content to be a
|
||
|
nobody. I was made for better things. However, I
|
||
|
don't like to see your concerns going to ruin, as they
|
||
|
must if you keep in this mind.... I hate taking my
|
||
|
own measure so plain, but, upon my life, your provok-
|
||
|
ing ways make a man say what he wouldn't dream of
|
||
|
at other times! I own to being rather interfering. But
|
||
|
you know well enough how it is, and who she is that I
|
||
|
like too well, and feel too much like a fool about to be
|
||
|
civil to her!"
|
||
|
It is more than probable that she privately and un-
|
||
|
consciously respected him a little for this grim fidelity,
|
||
|
which had been shown in his tone even more than in
|
||
|
his words. At any rate she murmured something to the
|
||
|
effect that he might stay if he wished. She said more
|
||
|
distinctly, " Will you leave me alone now? I don't
|
||
|
order it as a mistress -- I ask it as a woman, and I
|
||
|
expect you not to be so uncourteous as to refuse."
|
||
|
"Certainly I will, Miss Everdene." said Gabriel, gently.
|
||
|
He wondered that the request should have come at this
|
||
|
moment, for the strife was over, and they were on a
|
||
|
most desolate hill, far from every human habitation, and
|
||
|
the hour was getting late. He stood still and allowed
|
||
|
her to get far ahead of him till he could only see her
|
||
|
form upon the sky.
|
||
|
A distressing explanation of this anxiety to be rid of
|
||
|
him at that point now ensued. A figure apparently rose
|
||
|
from the earth beside her. The shape beyond all doubt
|
||
|
was Troy's. Oak would not be even a possible listener,
|
||
|
and at once turned back till a good two hundred yards
|
||
|
were between the lovers and himself.
|
||
|
Gabriel went home by way of the churchyard. In
|
||
|
passing the tower he thought of what she had said about
|
||
|
the sergeant's virtuous habit of entering the church un-
|
||
|
PARTICULARS OF A TWILIGHT WALK
|
||
|
perceived at the beginning of service. Believing that
|
||
|
the little gallery door alluded to was quite disused, he
|
||
|
ascended the external flight of steps at the top of which
|
||
|
it stood, and examined it. The pale lustre yet hanging
|
||
|
in the north-western heaven was sufficient to show that
|
||
|
a sprig of ivy had grown from the wall across the door
|
||
|
to a length of more than a foot, delicately tying the
|
||
|
panel to the stone jamb. It was a decisive proof that
|
||
|
the door had not been opened at least since Troy came
|
||
|
back to Weatherbury.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXX
|
||
|
|
||
|
|
||
|
|
||
|
HOT CHEEKS AND TEARFUL EYES
|
||
|
|
||
|
|
||
|
HALF an hour later Bathsheba entered her own house.
|
||
|
There burnt upon her face when she met the light of
|
||
|
the candles the flush and excitement which were little
|
||
|
less than chronic with her now. The farewell words of
|
||
|
Troy, who had accompanied her to the very door, still
|
||
|
lingered in her ears. He had bidden her adieu for two
|
||
|
days, which were so he stated, to be spent at Bath in
|
||
|
visiting some friends. He had also kissed her a second
|
||
|
time.
|
||
|
It is only fair to Bathsheba to explain here a little
|
||
|
fact which did not come to light till a long time after-
|
||
|
wards: that Troy's presentation of himself so aptly at
|
||
|
the roadside this evening was not by any distinctly pre-
|
||
|
concerted arrangement. He had hinted -- she had
|
||
|
forbidden; and it was only on the chance of his still
|
||
|
coming that she had dismissed Oak, fearing a meeting
|
||
|
between them just then.
|
||
|
She now sank down into a chair, wild and perturbed
|
||
|
by all these new and fevering sequences. Then she
|
||
|
jumped up with a manner of decision, and fetched her
|
||
|
desk from a side table.
|
||
|
In three minutes, without pause or modification, she
|
||
|
had written a letter to Boldwood, at his address beyond
|
||
|
Casterbridge, saying mildly but firmly that she had well
|
||
|
considered the whole subject he had brought before her
|
||
|
and kindly given her time to decide upon; that her
|
||
|
final decision was that she could not marry him. She
|
||
|
had expressed to Oak an intention to wait till Boldwood
|
||
|
came home before communicating to him her conclusive
|
||
|
reply. But Bathsheba found that she could not wait.
|
||
|
It was impossible to send this letter till the next day;
|
||
|
yet to quell her uneasiness by getting it out of her hands,
|
||
|
and so, as it were, setting the act in motion at once, she
|
||
|
arose to take it to any one of the women who might be
|
||
|
in the kitchen.
|
||
|
She paused in the passage. A dialogue was going
|
||
|
on in the kitchen, and Bathsheba and Troy were the
|
||
|
subject of it.
|
||
|
"If he marry her, she'll gie up farming."
|
||
|
"Twill be a gallant life, but may bring some trouble
|
||
|
between the mirth -- so say I."
|
||
|
"Well, I wish I had half such a husband."
|
||
|
Bathsheba had too much sense to mind seriously
|
||
|
what her servitors said about her; but too much womanly
|
||
|
redundance of speech to leave alone what was said till
|
||
|
it died the natural death of unminded things. She
|
||
|
burst in upon them.
|
||
|
"Who are you speaking of?" she asked.
|
||
|
There was a pause before anybody replied. At last
|
||
|
Liddy said frankly," What was passing was a bit of a
|
||
|
word about yourself, miss."
|
||
|
"I thought so! Maryann and Liddy and Temper-
|
||
|
ance -- now I forbid you to suppose such things. You
|
||
|
know I don't care the least for Mr. Troy -- not I. Every-
|
||
|
body knows how much I hate him. -- Yes." repeated the
|
||
|
froward young person, "HATE him!"
|
||
|
"We know you do, miss." said Liddy; "and so do we
|
||
|
all."
|
||
|
"I hate him too." said Maryann.
|
||
|
"Maryann -- O you perjured woman! How can you
|
||
|
speak that wicked story!" said Bathsheba, excitedly.
|
||
|
"You admired him from your heart only this morning
|
||
|
in the very world, you did. Yes, Maryann, you know it!"
|
||
|
"Yes, miss, but so did you. He is a wild scamp
|
||
|
now, and you are right to hate him."
|
||
|
"He's NOT a wild scamp! How dare you to my face!
|
||
|
I have no right to hate him, nor you, nor anybody.
|
||
|
But I am a silly woman! What is it to me what he is?
|
||
|
You know it is nothing. I don't care for him; I don"t
|
||
|
mean to defend his good name, not I. Mind this, if
|
||
|
any of you say a word against him you'll be dismissed
|
||
|
instantly!"
|
||
|
She flung down the letter and surged back into the
|
||
|
parlour, with a big heart and tearful eyes, Liddy following
|
||
|
her.
|
||
|
"O miss!" said mild Liddy, looking pitifully into
|
||
|
Bathsheba's face. "I am sorry we mistook you so!
|
||
|
did think you cared for him; but I see you don't now."
|
||
|
"Shut the door, Liddy."
|
||
|
Liddy closed the door, and went on: " People always
|
||
|
say such foolery, miss. I'll make answer hencefor'ard,
|
||
|
"Of course a lady like Miss Everdene can't love him;"
|
||
|
I'll say it out in plain black and white."
|
||
|
Bathsheba burst out: "O Liddy, are you such a
|
||
|
simpleton? Can't you read riddles? Can't you see?
|
||
|
Are you a woman yourself?"
|
||
|
Liddy's clear eyes rounded with wonderment.
|
||
|
"Yes; you must be a blind thing, Liddy!" she said,
|
||
|
in reckless abandonment and grief. "O, I love him
|
||
|
to very distraction and misery and agony! Don't be
|
||
|
frightened at me, though perhaps I am enough to frighten
|
||
|
any innocent woman. Come closer -- closer." She put
|
||
|
her arms round Liddy's neck. "I must let it out to
|
||
|
somebody; it is wearing me away! Don't you yet know
|
||
|
enough of me to see through that miserable denial of
|
||
|
mine? O God, what a lie it was! Heaven and my
|
||
|
Love forgive me. And don't you know that a woman
|
||
|
who loves at all thinks nothing of perjury when it is
|
||
|
balanced against her love? There, go out of the room;
|
||
|
I want to be quite alone."
|
||
|
Liddy went towards the door.
|
||
|
"Liddy, come here. Solemnly swear to me that he's
|
||
|
not a fast man; that it is all lies they say about him!"
|
||
|
"Put, miss, how can I say he is not if -- -- "
|
||
|
"You graceless girl! How can you have the cruel
|
||
|
heart to repeat what they say? Unfeeling thing that
|
||
|
you are.... But I'LL see if you or anybody else in the
|
||
|
village, or town either, dare do such a thing!" She
|
||
|
started off, pacing from fireplace to door, and back
|
||
|
again.
|
||
|
"No, miss. I don't -- I know it is not true!" said
|
||
|
Liddy, frightened at Bathsheba's unwonted vehemence.
|
||
|
I suppose you only agree with me like that to please
|
||
|
me. But, Liddy, he CANNOT BE had, as is said. Do you
|
||
|
hear? "
|
||
|
"Yes, miss, yes."
|
||
|
"And you don't believe he is?"
|
||
|
"I don't know what to say, miss." said Liddy, be-
|
||
|
ginning to cry. "If I say No, you don"t believe me;
|
||
|
and if I say Yes, you rage at me!"
|
||
|
"Say you don't believe it -- say you don't!"
|
||
|
"I don't believe him to be so had as they make out."
|
||
|
"He is not had at all.... My poor life and heart,
|
||
|
how weak I am!" she moaned, in a relaxed, desultory
|
||
|
way, heedless of Liddy's presence. "O, how I wish I
|
||
|
had never seen him! Loving is misery for women
|
||
|
always. I shall never forgive God for making me a
|
||
|
woman, and dearly am I beginning to pay for the honour
|
||
|
of owning a pretty face." She freshened and turned to
|
||
|
Liddy suddenly. "Mind this, Lydia Smallbury, if you
|
||
|
repeat anywhere a single word of what l have said to
|
||
|
you inside this closed door, I'll never trust you, or love
|
||
|
you, or have you with me a moment longer -- not a
|
||
|
moment!"
|
||
|
"I don't want to repeat anything." said Liddy, with
|
||
|
womanly dignity of a diminutive order; "but I don't
|
||
|
wish to stay with you. And, if you please, I'll go at the
|
||
|
end of the harvest, or this week, or to-day.... I don't
|
||
|
see that I deserve to be put upon and stormed at for
|
||
|
nothing!" concluded the small woman, bigly.
|
||
|
"No, no, Liddy; you must stay!" said Bathsheba,
|
||
|
dropping from haughtiness to entreaty with capricious
|
||
|
inconsequence. "You must not notice my being in a
|
||
|
taking just now. You are not as a servant -- you are a
|
||
|
companion to me. Dear, dear -- I don't know what I
|
||
|
am doing since this miserable ache o'! my heart has
|
||
|
weighted and worn upon me so! What shall I come
|
||
|
to! I suppose I shall get further and further into
|
||
|
troubles. I wonder sometimes if I am doomed to die
|
||
|
in the Union. I am friendless enough, God knows!"
|
||
|
"I won't notice anything, nor will I leave you!" sobbed
|
||
|
Liddy, impulsively putting up her lips to Bathsheba's,
|
||
|
and kissing her.
|
||
|
Then Bathsheba kissed Liddy, and all was smooth
|
||
|
again.
|
||
|
"I don't often cry, do I, Lidd? but you have made
|
||
|
tears come into my eyes." she said, a smile shining
|
||
|
through the moisture. "Try to think him a good man,
|
||
|
won't you, dear Liddy?"
|
||
|
"I will, miss, indeed."
|
||
|
"He is a sort of steady man in a wild way, you know.
|
||
|
way. I am afraid that's how I am. And promise me
|
||
|
to keep my secret -- do, Liddy! And do not let them
|
||
|
know that I have been crying about him, because it will
|
||
|
be dreadful for me, and no good to him, poor thing!"Death's head himself
|
||
|
shan't wring it from me, mistress,
|
||
|
if I've a mind to keep anything; and I'll always be your
|
||
|
friend." replied Liddy, emphatically, at the same time
|
||
|
bringing a few more tears into her own eyes, not from
|
||
|
any particular necessity, but from an artistic sense of
|
||
|
making herself in keeping with the remainder of the
|
||
|
picture, which seems to influence women at such times.
|
||
|
"I think God likes us to be good friends, don't you?"
|
||
|
"Indeed I do."
|
||
|
"And, dear miss, you won"t harry me and storm at
|
||
|
me, will you? because you seem to swell so tall as a
|
||
|
lion then, and it frightens me! Do you know, I fancy
|
||
|
you would be a match for any man when you are in one
|
||
|
O' your takings."
|
||
|
"Never! do you?" said Bathsheba, slightly laughing,
|
||
|
though somewhat seriously alarmed by this Amazonian
|
||
|
picture of herself. "I hope I am not a bold sort of
|
||
|
maid -- mannish?" she continued with some anxiety.
|
||
|
"O no, not mannish; but so almighty womanish
|
||
|
that 'tis getting on that way sometimes. Ah! miss." she
|
||
|
said, after having drawn her breath very sadly in and
|
||
|
sent it very sadly out, "I wish I had half your failing
|
||
|
that way. 'Tis a great protection to a poor maid in
|
||
|
these illegit'mate days!"
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXI
|
||
|
|
||
|
|
||
|
|
||
|
BLAME -- FURY
|
||
|
|
||
|
|
||
|
THE next evening Bathsheba, with the idea of getting
|
||
|
out of the way of Mr. Boldwood in the event of his
|
||
|
returning to answer her note in person, proceeded to
|
||
|
fulfil an engagement made with Liddy some few hours
|
||
|
earlier. Bathsheba's companion, as a gage of their
|
||
|
reconciliation, had been granted a week's holiday to
|
||
|
visit her sister, who was married to a thriving hurdler
|
||
|
and cattle-crib-maker living in a delightful labyrinth of
|
||
|
hazel copse not far beyond Yalbury. The arrangement
|
||
|
was that Miss Everdene should honour them by coming
|
||
|
there for a day or two to inspect some ingenious con-
|
||
|
trivances which this man of the woods had introduced
|
||
|
into his wares.
|
||
|
Leaving her instructions with Gabriel and Maryann,
|
||
|
that they were to see everything carefully locked up for
|
||
|
the night, she went out of the house just at the close of
|
||
|
a timely thunder-shower, which had refined the air, and
|
||
|
daintily bathed the coat of the land, though all beneath
|
||
|
was dry as ever. Freshness was exhaled in an essence
|
||
|
from the varied contours of bank and hollow, as if the
|
||
|
earth breathed maiden breath; and the pleased birds
|
||
|
were hymning to the scene. Before her, among the
|
||
|
clouds, there was a contrast in the shape of lairs of
|
||
|
fierce light which showed themselves in the neighbour-
|
||
|
hood of a hidden sun, lingering on to the farthest north-
|
||
|
west corner of the heavens that this midsummer season
|
||
|
allowed.
|
||
|
She had walked nearly two miles of her journey,
|
||
|
watching how the day was retreating, and thinking how
|
||
|
the time of deeds was quietly melting into the time of
|
||
|
thought, to give place in its turn to the time of prayer
|
||
|
and sleep, when she beheld advancing over Yalbury hill
|
||
|
the very man she sought so anxiously to elude. Boldwood
|
||
|
was stepping on, not with that quiet tread of reserved
|
||
|
strength which was his customary gait, in which he
|
||
|
always seemed to be balancing two thoughts. His
|
||
|
manner was stunned and sluggish now.
|
||
|
Boldwood had for the first time been awakened to
|
||
|
woman's privileges in tergiversation even when it involves
|
||
|
another person's possible blight. That Bathsheba was
|
||
|
a firm and positive girl, far less inconsequent than her
|
||
|
fellows, had been the very lung of his hope; for he had
|
||
|
held that these qualities would lead her to adhere to a
|
||
|
straight course for consistency's sake, and accept him,
|
||
|
though her fancy might not flood him with the iridescent
|
||
|
hues of uncritical love. But the argument now came
|
||
|
back as sorry gleams from a broken mirror. The dis-
|
||
|
covery was no less a scourge than a surprise.
|
||
|
He came on looking upon the ground, and did not
|
||
|
see Bathsheba till they were less than a stone's throw
|
||
|
apart. He looked up at the sound of her pit-pat, and
|
||
|
his changed appearance sufficiently denoted to her the
|
||
|
depth and strength of the feelings paralyzed by her
|
||
|
letter.
|
||
|
"Oh; is it you, Mr. Boldwood?" she faltered, a guilty
|
||
|
warmth pulsing in her face.
|
||
|
Those who have the power of reproaching in silence
|
||
|
may find it a means more effective than words. There
|
||
|
are accents in the eye which are not on the tongue, and
|
||
|
more tales come from pale lips than can enter an ear.
|
||
|
It is both the grandeur and the pain of the remoter
|
||
|
moods that they avoid the pathway of sound. Bold-
|
||
|
wood's look was unanswerable.
|
||
|
Seeing she turned a little aside, he said, "What, are
|
||
|
you afraid of me?"
|
||
|
Why should you say that?" said Bathsheba.
|
||
|
"I fancied you looked so." said he. "And it is most
|
||
|
strange, because of its contrast with my feeling for you.
|
||
|
She regained self-possession, fixed her eyes calmly,
|
||
|
and waited.
|
||
|
"You know what that feeling is." continued Boldwood,
|
||
|
deliberately. "A thing strong as death. No dismissal
|
||
|
by a hasty letter affects that."
|
||
|
"I wish you did not feel so strongly about me." she
|
||
|
murmured. "It is generous of you, and more than I
|
||
|
deserve, but I must not hear it now."
|
||
|
"Hear it? What do you think I have to say, then?
|
||
|
I am not to marry you, and that's enough. Your letter
|
||
|
was excellently plain. I want you to hear nothing --
|
||
|
not I."
|
||
|
Bathsheba was unable to direct her will into any
|
||
|
definite groove for freeing herself from this fearfully
|
||
|
and was moving on. Boldwood walked up to her heavily
|
||
|
and dully.
|
||
|
"Bathsheba -- darling -- is it final indeed?"
|
||
|
"Indeed it is."
|
||
|
"O, Bathsheba -- have pity upon me!" Boldwood
|
||
|
burst out. "God's sake, yes -- I am come to that low,
|
||
|
lowest stage -- to ask a woman for pity! Still, she is
|
||
|
you -- she is you."
|
||
|
Bathsheba commanded herself well. But she could
|
||
|
hardly get a clear voice for what came instinctively to
|
||
|
her lips: "There is little honour to the woman in that
|
||
|
speech." It was only whispered, for something unutter-
|
||
|
ably mournful no less than distressing in this spectacle
|
||
|
of a man showing himself to be so entirely the vane of a
|
||
|
passion enervated the feminine instinct for punctilios.
|
||
|
"I am beyond myself about this, and am mad." he
|
||
|
said. "I am no stoic at all to he supplicating here; but
|
||
|
I do supplicate to you. I wish you knew what is in
|
||
|
me of devotion to you; but it is impossible, that. In
|
||
|
bare human mercy to a lonely man, don't throw me off
|
||
|
now!"
|
||
|
"I don't throw you off -- indeed, how can I? I never
|
||
|
had you." In her noon-clear sense that she had never
|
||
|
loved him she forgot for a moment her thoughtless angle
|
||
|
on that day in February.
|
||
|
"But there was a time when you turned to me,
|
||
|
before I thought of you! I don't reproach you, for
|
||
|
even now I feel that the ignorant and cold darkness
|
||
|
that I should have lived in if you had not attracted me
|
||
|
by that letter -- valentine you call it -- would have been
|
||
|
worse than my knowledge of you, though it has brought
|
||
|
this misery. But, I say, there was a time when I knew
|
||
|
nothing of you, and cared nothing for you, and yet you
|
||
|
drew me on. And if you say you gave me no en-
|
||
|
couragement, I cannot but contradict you."
|
||
|
"What you call encouragement was the childish
|
||
|
game of an idle minute. I have bitterly repented of it
|
||
|
-- ay, bitterly, and in tears. Can you still go on re-
|
||
|
minding me?"
|
||
|
"I don't accuse you of it -- I deplore it. I took for
|
||
|
earnest what you insist was jest, and now this that I
|
||
|
pray to be jest you say is awful, wretched earnest. Our
|
||
|
moods meet at wrong places. I wish your feeling was
|
||
|
more like mine, or my feeling more like yours! O,
|
||
|
could I but have foreseen the torture that trifling trick
|
||
|
was going to lead me into, how I should have cursed
|
||
|
you; but only having been able to see it since, I cannot
|
||
|
do that, for I love you too well! But it is weak, idle
|
||
|
drivelling to go on like this.... Bathsheba, you are
|
||
|
the first woman of any shade or nature that I have ever
|
||
|
looked at to love, and it is the having been so near
|
||
|
claiming you for my own that makes this denial so hard
|
||
|
to bear. How nearly you promised me! But I don't
|
||
|
speak now to move your heart, and make you grieve
|
||
|
because of my pain; it is no use, that. I must bear it;
|
||
|
my pain would get no less by paining you."
|
||
|
"But I do pity you -- deeply -- O so deeply!" she
|
||
|
earnestly said.
|
||
|
"Do no such thing -- do no such thing. Your dear
|
||
|
love, Bathsheba, is such a vast thing beside your pity,
|
||
|
that the loss of your pity as well as your love is no great
|
||
|
addition to my sorrow, nor does the gain of your pity
|
||
|
make it sensibly less. O sweet -- how dearly you
|
||
|
spoke to me behind the spear-bed at the washing-pool,
|
||
|
and in the barn at the shearing, and that dearest last
|
||
|
time in the evening at your home! Where are your
|
||
|
pleasant words all gone -- your earnest hope to be able
|
||
|
to love me? Where is your firm conviction that you
|
||
|
would get to care for me very much? Really forgotten?
|
||
|
-- really?"
|
||
|
She checked emotion, looked him quietly and clearly
|
||
|
in the face, and said in her low, firm voice, " Mr. Bold-
|
||
|
wood, I promised you nothing. Would you have had
|
||
|
me a woman of clay when you paid me that furthest,
|
||
|
highest compliment a man can pay a woman -- telling
|
||
|
her he loves her? I was bound to show some feeling,
|
||
|
if l would not be a graceless shrew. Yet each of those
|
||
|
pleasures was just for the day -- the day just for the
|
||
|
pleasure. How was I to know that what is a pastime
|
||
|
to all other men was death to you? Have reason, do,
|
||
|
and think more kindly of me!"
|
||
|
"Well, never mind arguing -- never mind. One
|
||
|
thing is sure: you were all but mine, and now you are
|
||
|
not nearly mine. Everything is changed, and that by
|
||
|
you alone, remember. You were nothing to me once,
|
||
|
and I was contented; you are now nothing to me again,
|
||
|
and how different the second nothing is from the first!
|
||
|
Would to God you had never taken me up, since it was
|
||
|
only to throw me down!"
|
||
|
Bathsheba, in spite of her mettle, began to feel un-
|
||
|
mistakable signs that she was inherently the weaker
|
||
|
vessel. She strove miserably against this feminity
|
||
|
which would insist upon supplying unbidden emotions
|
||
|
in stronger and stronger current. She had tried to
|
||
|
elude agitation by fixing her mind on the trees, sky, any
|
||
|
trivial object before her eyes, whilst his reproaches fell,
|
||
|
but ingenuity could not save her now.
|
||
|
"I did not take you up -- surely I did not!" she
|
||
|
answered as heroically as she could. "But don't be in
|
||
|
this mood with me. I can endure being told I am in
|
||
|
the wrong, if you will only tell it me gently! O sir,
|
||
|
will you not kindly forgive me, and look at it
|
||
|
cheerfully?"
|
||
|
"Cheerfully! Can a man fooled to utter heart-
|
||
|
burning find a reason for being merry> If I have lost,
|
||
|
how can I be as if I had won? Heavens you must be
|
||
|
heartless quite! Had I known what a fearfully bitter
|
||
|
sweet this was to be, how would I have avoided you,
|
||
|
and never seen you, and been deaf of you. I tell you
|
||
|
all this, but what do you care! You don't care."
|
||
|
She returned silent and weak denials to his charges,
|
||
|
and swayed her head desperately, as if to thrust away
|
||
|
the words as they came showering about her ears from
|
||
|
the lips of the trembling man in the climax of life, with
|
||
|
his bronzed Roman face and fine frame.
|
||
|
"Dearest, dearest, I am wavering even now between
|
||
|
the two opposites of recklessly renouncing you, and
|
||
|
labouring humbly for you again. Forget that you have
|
||
|
said No, and let it be as it was! Say, Bathsheba, that
|
||
|
you only wrote that refusal to me in fun -- come, say it
|
||
|
to me!"
|
||
|
"It would be untrue, and painful to both of us. You
|
||
|
overrate my capacity for love. I don't possess half
|
||
|
the warmth of nature you believe me to have. An un-
|
||
|
protected childhood in a cold world has beaten gentle-
|
||
|
ness out of me."
|
||
|
He immediately said with more resentment: "That
|
||
|
may be true, somewhat; but ah, Miss Everdene, it won't
|
||
|
do as a reason! You are not the cold woman you
|
||
|
would have me believe. No, no! It isn't because you
|
||
|
have no feeling in you that you don't love me. You
|
||
|
naturally would have me think so -- you would hide from
|
||
|
that you have a burning heart like mine. You have
|
||
|
love enough, but it is turned into a new channel. I
|
||
|
know where."
|
||
|
The swift music of her heart became hubbub now,
|
||
|
and she throbbed to extremity. He was coming to
|
||
|
Troy. He did then know what had occurred! And
|
||
|
the name fell from his lips the next moment.
|
||
|
"Why did Troy not leave my treasure alone?" he
|
||
|
asked, fiercely. "When I had no thought of injuring
|
||
|
him, why did he force himself upon your notice!
|
||
|
Before he worried you your inclination was to have me;
|
||
|
when next I should have come to you your answer
|
||
|
would have been Yes. Can you deny it -- I ask, can
|
||
|
you deny it?"
|
||
|
She delayed the reply, but was to honest to with
|
||
|
hold it." I cannot." she whispered.
|
||
|
"I know you cannot. But he stole in in my absence
|
||
|
and robbed me. Why did't he win you away before,
|
||
|
when nobody would have been grieved? -- when nobody
|
||
|
would have been set tale-bearing. Now the people
|
||
|
sneer at me -- the very hills and sky seem to laugh at
|
||
|
me till I blush shamefuly for my folly. I have lost my
|
||
|
respect, my good name, my standing -- lost it, never to
|
||
|
get it again. Go and marry your man -- go on!"
|
||
|
"O sir -- Mr. Boldwood!"
|
||
|
"You may as well. I have no further claim upon you.
|
||
|
As for me, I had better go somewhere alone, and hide --
|
||
|
and pray. I loved a woman once. I am now ashamed.
|
||
|
When I am dead they'll say, Miserable love-sick man
|
||
|
that he was. Heaven -- heaven -- if I had got jilted
|
||
|
secretly, and the dishonour not known, and my position
|
||
|
kept! But no matter, it is gone, and the woman not
|
||
|
gained. Shame upon him -- shame!"
|
||
|
His unreasonable anger terrified her, and she glided
|
||
|
from him, without obviously moving, as she said, "I am
|
||
|
only a girl -- do not speak to me so!"
|
||
|
"All the time you knew -- how very well you knew --
|
||
|
that your new freak was my misery. Dazzled by brass
|
||
|
and scarlet -- O, Bathsheba -- this is woman's folly
|
||
|
indeed!"
|
||
|
She fired up at once. "You are taking too much
|
||
|
upon yourself!" she said, vehemently. "Everybody is
|
||
|
upon me -- everybody. It is unmanly to attack a
|
||
|
woman so! I have nobody in the world to fight my
|
||
|
battles for me; but no mercy is shown. Yet if a
|
||
|
thousand of you sneer and say things against me, I WILL
|
||
|
NOT be put down!"
|
||
|
"You'll chatter with him doubtless about me. Say to
|
||
|
him, "Boldwood would have died for me." Yes, and
|
||
|
you have given way to him, knowing him to be not the
|
||
|
man for you. He has kissed you -- claimed you as his.
|
||
|
Do you hear -- he has kissed you. Deny it!"
|
||
|
The most tragic woman is cowed by a tragic man,
|
||
|
and although Boldwood was, in vehemence and glow,
|
||
|
nearly her own self rendered into another sex,
|
||
|
Bathsheba's cheek quivered. She gasped," Leave me,
|
||
|
sir -- leave me! I am nothing to you. Let me go on!"
|
||
|
"Deny that he has kissed you."
|
||
|
"I shall not."
|
||
|
"Ha -- then he has!" came hoarsely from the farmer.
|
||
|
"He has," she said, slowly, and, in spite of her fear,
|
||
|
defiantly. "I am not ashamed to speak the truth."
|
||
|
"Then curse him; and curse him!" said Boldwood,
|
||
|
breaking into a whispered fury." Whilst I would have
|
||
|
given worlds to touch your hand, you have let a rake come
|
||
|
in without right or ceremony and -- kiss you! Heaven's
|
||
|
mercy -- kiss you! ... Ah, a time of his life shall come
|
||
|
when he will have to repent, and think wretchedly of
|
||
|
the pain he has caused another man; and then may he
|
||
|
ache, and wish, and curse, and yearn -- as I do now!"
|
||
|
"Don't, don't, O, don't pray down evil upon him!"
|
||
|
she implored in a miserable cry. "Anything but that --
|
||
|
anything. O, be kind to him, sir, for I love him true ."
|
||
|
Boldwood's ideas had reached that point of fusion at
|
||
|
which outline and consistency entirely disappear. The
|
||
|
impending night appeared to concentrate in his eye.
|
||
|
He did not hear her at all now.
|
||
|
"I'll punish him -- by my soul, that will I! I'll meet
|
||
|
him, soldier or no, and I'll horsewhip the untimely
|
||
|
stripling for this reckless theft of my one delight. If he
|
||
|
were a hundred men I'd horsewhip him -- --" He
|
||
|
dropped his voice suddenly and unnaturally. "Bath-
|
||
|
sheba, sweet, lost coquette, pardon me! I've been
|
||
|
blaming you, threatening you, behaving like a churl to
|
||
|
you, when he's the greatest sinner. He stole your dear
|
||
|
heart away with his unfathomable lies! ... lt is a
|
||
|
fortunate thing for him that he's gone back to his
|
||
|
regiment -- that he's away up the country, and not here!
|
||
|
I hope he may not return here just yet. I pray God
|
||
|
he may not come into my sight, for I may be tempted
|
||
|
beyond myself. O, Bathsheba, keep him away -- yes,
|
||
|
keep him away from me!"
|
||
|
For a moment Boldwood stood so inertly after this
|
||
|
that his soul seemed to have been entirely exhaled with
|
||
|
the breath of his passionate words. He turned his face
|
||
|
away, and withdrew, and his form was soon covered over
|
||
|
by the twilight as his footsteps mixed in with the low
|
||
|
hiss of the leafy trees.
|
||
|
Bathsheba, who had been standing motionless as a
|
||
|
model all this latter time, flung her hands to her face,
|
||
|
and wildly attempted to ponder on the exhibition which
|
||
|
had just passed away. Such astounding wells of fevered
|
||
|
feeling in a still man like Mr. Boldwood were incompre-
|
||
|
hensible, dreadful. Instead of being a man trained to
|
||
|
repression he was -- what she had seen him.
|
||
|
The force of the farmer's threats lay in their relation to a
|
||
|
circumstance known at present only to herself: her lover was
|
||
|
coming back to Weatherby in the course of the very next
|
||
|
day or two. Troy had not returned to his distant barracks as
|
||
|
Boldwood and others supposed, but had merely gone to visit
|
||
|
some acquaintance in Bath, and had yet a week or more
|
||
|
remaining to his furlough.
|
||
|
She felt wretchedly certain that if he revisited her just at
|
||
|
this nick of time, and came into contact with Boldwood,a
|
||
|
fierce quarrel would be the consequence. She panted with
|
||
|
solicitude when she thought of possible injury to Troy. The
|
||
|
least spark would kindle the farmer's swift feelings of rage
|
||
|
and jealousy; he would lose his self-mastery as he had this
|
||
|
evening; Troy's blitheness might become aggressive; it might
|
||
|
take the direction of derision, and Boldwood's anger might
|
||
|
then take the direction of revenge.
|
||
|
With almost a morbid dread of being thought a gushing
|
||
|
girl, this guileless woman too well concealed from the world
|
||
|
under a manner of carelessness the warm depths of her strong
|
||
|
emotions. But now there was no reserve. In fer
|
||
|
her distraction, instead of advancing further she
|
||
|
walked up and down, beating
|
||
|
the air with her fingers, pressing on her brow, and sobbing
|
||
|
brokenly to herself. Then she sat down on a heap of stones by
|
||
|
the wayside to think. There she remained long. Above the
|
||
|
dark margin of the earth appeared foreshores and promontor-
|
||
|
ies of coppery cloud,bounding a green and pellucid expanse
|
||
|
in the western sky. Amaranthine glosses came over them then,
|
||
|
and the unresting world wheeled her round to a contrasting
|
||
|
prospect eastward, in the shape of indecisive and palpitating
|
||
|
stars. She gazed upon their silent throes amid the shades of
|
||
|
space, but realised none at all. Her troubled spirit was far
|
||
|
away with Troy.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXII
|
||
|
|
||
|
|
||
|
|
||
|
NIGHT -- HORSES TRAMPING
|
||
|
|
||
|
|
||
|
THE village of Weatherbury was quiet as the graveyard
|
||
|
in its midst, and the living were lying well nigh as still
|
||
|
as the dead. The church clock struck eleven. The
|
||
|
air was so empty of other sounds that the whirr of the
|
||
|
clock-work immediately before the strokes was distinct,
|
||
|
and so was also the click of the same at their close.
|
||
|
The notes flew forth with the usual blind obtuseness
|
||
|
of inanimate things -- flapping and rebounding among
|
||
|
walls, undulating against the scattered clouds, spreading
|
||
|
through their interstices into unexplored miles of space.
|
||
|
Bathsheba's crannied and mouldy halls were to-night
|
||
|
occupied only by Maryann, Liddy being, as was stated,
|
||
|
with her sister, whom Bathsheba had set out to visit.
|
||
|
A few minutes after eleven had struck, Maryann turned
|
||
|
in her bed with a sense of being disturbed. She was
|
||
|
totally unconscious of the nature of the interruption to
|
||
|
her sleep. It led to a dream, and the dream to an
|
||
|
awakening, with an uneasy sensation that something
|
||
|
had happened. She left her bed and looked out of
|
||
|
the window. The paddock abutted on this end of the
|
||
|
building, and in the paddock she could just discern by
|
||
|
the uncertain gray a moving figure approaching the
|
||
|
horse that was feeding there. The figure seized the
|
||
|
horse by the forelock, and led it to the corner of the
|
||
|
field. Here she could see some object which circum-
|
||
|
stances proved to be a vehicle for after a few minutes
|
||
|
the horse down the road, mingled with the sound of
|
||
|
light wheels.
|
||
|
Two varieties only of humanity could have entered
|
||
|
the paddock with the ghostlike glide of that mysterious
|
||
|
figure. They were a woman and a gipsy man. A woman
|
||
|
was out of the question in such an occupation at this
|
||
|
hour, and the comer could be no less than a thief, who
|
||
|
might probably have known the weakness of the house-
|
||
|
hold on this particular night, and have chosen it on
|
||
|
that account for his daring attempt. Moreover, to
|
||
|
raise suspicion to conviction itself, there were gipsies in!
|
||
|
Weatherbury Bottom.
|
||
|
Maryann, who had been afraid to shout in the robber's
|
||
|
presence, having seen him depart had no fear. She
|
||
|
hastily slipped on her clothes, stumped down the dis-
|
||
|
jointed staircase with its hundred creaks, ran to Coggan's,
|
||
|
the nearest house, and raised an alarm. Coggan called
|
||
|
Gabriel, who now again lodged in his house as at first,
|
||
|
and together they went to the paddock. Beyond all
|
||
|
doubt the horse was gone.
|
||
|
"Hark!" said Gabriel.
|
||
|
They listened. Distinct upon the stagnant air came
|
||
|
the sounds of a trotting horse passing up Longpuddle
|
||
|
Lane -- just beyond the gipsies' encampment in Weather-
|
||
|
bury Bottom.
|
||
|
"That's our Dainty-i'll swear to her step." said Jan.
|
||
|
"Mighty me! Won't mis'ess storm and call us stupids
|
||
|
wen she comes back!" moaned Maryann. "How I
|
||
|
wish it had happened when she was at home, and none
|
||
|
of us had been answerable!"
|
||
|
"We must ride after." said Gabriel, decisively.
|
||
|
be responsible to Miss Everdene for what we do. Yes,
|
||
|
we'll follow. "
|
||
|
"Faith, I don't see how." said Coggan. "All our
|
||
|
horses are too heavy for that trick except little Poppet,
|
||
|
and what's she between two of us?-if we only had that
|
||
|
pair over the hedge we might do something."
|
||
|
"Which pair?"
|
||
|
"Mr Boldwood's Tidy and Moll."
|
||
|
"Then wait here till I come hither again." said Gabriel.
|
||
|
He ran down the hill towards Farmer Boldwood's.
|
||
|
"Farmer Boldwood is not at home." said Maryann.
|
||
|
"All the better." said Coggan. "I know what he's
|
||
|
gone for."
|
||
|
Less than five minutes brought up Oak again, running
|
||
|
at the same pace, with two halters dangling from his hand.
|
||
|
"Where did you find 'em?" said Coggan, turning
|
||
|
round and leaping upon the hedge without waiting for
|
||
|
an answer.
|
||
|
"Under the eaves. I knew where they were kept,"
|
||
|
said Gabriel, following him. "Coggan, you can ride
|
||
|
bare-backed? there's no time to look for saddles."
|
||
|
"Like a hero!" said Jan.
|
||
|
"Maryann, you go to hed." Gabriel shouted to her
|
||
|
from the top of the hedge.
|
||
|
Springing down into Boldwood's pastures, each
|
||
|
pocketed his halter to hide it from the horses, who,
|
||
|
seeing the men empty-handed, docilely allowed them-
|
||
|
selves to he seized by the mane, when the halters
|
||
|
were dexterously slipped on. Having neither bit nor
|
||
|
bridle, Oak and Coggan extemporized the former by
|
||
|
passing the rope in each case through the animal's
|
||
|
mouth and looping it on the other side. Oak vaulted
|
||
|
astride, and Coggan clambered up by aid of the hank,
|
||
|
when they ascended to the gate and galloped off in the
|
||
|
direction taken by Bathsheha's horse and the robber.
|
||
|
Whose vehicle the horse had been harnessed to was a
|
||
|
matter of some uncertainty.
|
||
|
Weatherbury Bottom was reached in three or four
|
||
|
minutes. They scanned the shady green patch by the
|
||
|
roadside. The gipsies were gone.
|
||
|
"The villains!" said Gabriel. "Which way have they
|
||
|
gone, I wonder?"
|
||
|
"Straight on, as sure as God made little apples,"
|
||
|
said Jan.
|
||
|
"Very well; we are better mounted, and must over-
|
||
|
discovered. The road-metal grew softer and more
|
||
|
rain had wetted its surface to a somewhat plastic, but
|
||
|
not muddy state. They came to cross-roads. Coggan
|
||
|
suddenly pulled up Moll and slipped off.
|
||
|
"What's the matter?" said Gabriel.
|
||
|
"We must try to track 'em, since we can't hear 'em,"
|
||
|
said Jan, fumbling in his pockets. He struck a light,
|
||
|
and held the match to the ground. The rain had been
|
||
|
heavier here, and all foot and horse tracks made previous
|
||
|
to the storm had been abraded and blurred by the drops,
|
||
|
and they were now so many little scoops of water, which
|
||
|
reflected the flame of the match like eyes. One set of
|
||
|
tracks was fresh and had no water in them; one pair of
|
||
|
ruts was also empty, and not small canals, like the others.
|
||
|
The footprints forming this recent impression were full
|
||
|
of information as to pace; they were in equidistant pairs,
|
||
|
three or four feet apart, the right and left foot of each
|
||
|
pair being exactly opposite one another.
|
||
|
"Straight on!" Jan exclaimed. "Tracks like that
|
||
|
mean a stiff gallop. No wonder we don't hear him.
|
||
|
And the horse is harnessed -- look at the ruts. Ay,
|
||
|
"How do you know?"
|
||
|
"Old Jimmy Harris only shoed her last week, and
|
||
|
I'd swear to his make among ten thousand."
|
||
|
"The rest of the gipsies must ha" gone on earlier,
|
||
|
or some other way." said Oak. "You saw there were
|
||
|
no other tracks?"
|
||
|
"True." They rode along silently for a long weary
|
||
|
time. Coggan carried an old pinchbeck repeater which
|
||
|
he had inherited from some genius in his family; and
|
||
|
it now struck one. He lighted another match, and ex-
|
||
|
amined the ground again.
|
||
|
"'Tis a canter now." he said, throwing away the light.
|
||
|
"A twisty, rickety pace for a gig. The fact is, they over-
|
||
|
drove her at starting, we shall catch 'em yet."
|
||
|
Again they hastened on, and entered Blackmore
|
||
|
Vale. Coggan's watch struck one. When they looked
|
||
|
again the hoof-marks were so spaced as to form a sort
|
||
|
of zigzag if united, like the lamps along a street.
|
||
|
"That's a trot, I know." said Gabriel.
|
||
|
"Only a trot now." said Coggan, cheerfully. "We
|
||
|
shall overtake him in time."
|
||
|
They pushed rapidly on for yet two or three miles.
|
||
|
"Ah! a moment." said Jan. "Let's see how she was
|
||
|
driven up this hill. "Twill help us." A light was
|
||
|
promptly struck upon his gaiters as before, and the ex-
|
||
|
amination made,
|
||
|
"Hurrah!" said Coggan. "She walked up here --
|
||
|
and well she might. We shall get them in two miles,
|
||
|
for a crown."
|
||
|
They rode three, and listened. No sound was to be
|
||
|
heard save a millpond trickling hoarsely through a
|
||
|
hatch, and suggesting gloomy possibilities of drowning
|
||
|
by jumping in. Gabriel dismounted when they came
|
||
|
to a turning. The tracks were absolutely the only guide
|
||
|
as to the direction that they now had, and great caution
|
||
|
was necessary to avoid confusing them with some others
|
||
|
which had made their appearance lately.
|
||
|
"What does this mean? -- though I guess." said
|
||
|
Gabriel, looking up at Coggan as he moved the match
|
||
|
over the ground about the turning. Coggan, who, no
|
||
|
less than the panting horses, had latterly shown signs
|
||
|
of weariness, again scrutinized the mystic characters.
|
||
|
This time only three were of the regular horseshoe
|
||
|
shape. Every fourth was a dot.
|
||
|
He screwed up his face and emitted a long
|
||
|
"Whew-w-w!"
|
||
|
"Lame." said Oak.
|
||
|
"Yes Dainty is lamed; the near-foot-afore." said
|
||
|
Coggan slowly staring still at the footprints.
|
||
|
"We'll push on." said Gabriel, remounting his humid
|
||
|
steed.
|
||
|
Although the road along its greater part had been as
|
||
|
good as any turnpike-road in the country, it was nomin-
|
||
|
ally only a byway. The last turning had brought them
|
||
|
into the high road leading to Bath. Coggan recollected
|
||
|
himself.
|
||
|
"We shall have him now!" he exclaimed.
|
||
|
"Where?"
|
||
|
"Sherton Turnpike. The keeper of that gate is the
|
||
|
sleepiest man between here and London -- Dan Randall.
|
||
|
that's his name -- knowed en for years, when he was at
|
||
|
Casterbridge gate. Between the lameness and the gate
|
||
|
'tis a done job."
|
||
|
'Twas said until, against a shady background of foliage,
|
||
|
five white bars were visible, crossing their route a little
|
||
|
way ahead.
|
||
|
"Hush -- we are almost close!" said Gabriel.
|
||
|
"Amble on upon the grass." said Coggan.
|
||
|
The white bars were blotted out in the midst by a
|
||
|
dark shape in front of them. The silence of this lonely
|
||
|
time was pierced by an exclamation from that quarter.
|
||
|
"Hoy-a-hoy! Gate!"
|
||
|
It appeared that there had been a previous call which
|
||
|
they had not noticed, for on their close approach the
|
||
|
door of the turnpike-house opened, and the keeper
|
||
|
came out half-dressed, with a candle in his hand. The
|
||
|
rays illumined the whole group.
|
||
|
"Keep the gate close!" shouted Gabriel. "He has
|
||
|
stolen the horse!"
|
||
|
Who?" said the turnpike-man.
|
||
|
Gabriel looked at the driver of the gig, and saw a
|
||
|
woman -- Bathsheba, his mistress.
|
||
|
On hearing his voice she had turned her face away
|
||
|
from the light. Coggan had, however, caught sight of
|
||
|
her in the meanwhile.
|
||
|
"Why, 'tis mistress-i'll take my oath!" he said,
|
||
|
amazed.
|
||
|
Bathsheba it certainly was, and she had by this time
|
||
|
done the trick she could do so well in crises not of love,
|
||
|
namely, mask a surprise by coolness of manner.
|
||
|
"Well, Gabriel." she inquired quietly," where are you
|
||
|
going?"
|
||
|
"We thought -- --" began Gabriel.
|
||
|
"Bath." she said, taking for her own
|
||
|
use the assurance that Gabriel lacked. "An important
|
||
|
matter made it necessary for me to give up my visit to
|
||
|
liddy, and go off at once. What, then, were you
|
||
|
following me?"
|
||
|
"We thought the horse was stole."
|
||
|
"Well-what a thing! How very foolish of you not
|
||
|
to know that I had taken the trap and horse. I could
|
||
|
neither wake Maryann nor get into the house, though
|
||
|
I hammered for ten minutes against her window-sill.
|
||
|
Fortunately, I could get the key of the coach-house, so
|
||
|
I troubled no one further. Didn't you think it might
|
||
|
be me?"
|
||
|
"Why should we, miss?"
|
||
|
"Perhaps not Why, those are never Farmer Bold-
|
||
|
wood's horses! Goodness mercy! what have you been
|
||
|
doing bringing trouble upon me in this way? What!
|
||
|
mustn't a lady move an inch from her door without being
|
||
|
dogged like a thief?"
|
||
|
"But how was we to know, if you left no account of
|
||
|
your doings?" expostulated Coggan, "and ladies don't
|
||
|
drive at these hours, miss, as a jineral rule of society."
|
||
|
"I did leave an account -- and you would have seen
|
||
|
it in the morning. I wrote in chalk on the coach-house
|
||
|
doors that I had come back for the horse and gig, and
|
||
|
driven off; that I could arouse nobody, and should
|
||
|
return soon."
|
||
|
"But you'll consider, ma'am, that we couldn't see
|
||
|
that till it got daylight."
|
||
|
"True." she said, and though vexed at first she had
|
||
|
too much sense to blame them long or seriously for a
|
||
|
devotion to her that was as valuable as it was rare.
|
||
|
She added with a very pretty grace," Well, I really thank
|
||
|
you heartily for taking all this trouble; but I wish you
|
||
|
had borrowed anybody's horses but Mr. Boldwood's."
|
||
|
"Dainty is lame, miss." said Coggan. "Can ye go
|
||
|
on?"
|
||
|
"lt was only a stone in her shoe. I got down and
|
||
|
pulled it out a hundred yards back. I can manage
|
||
|
very well, thank you. I shall be in Bath by daylight.
|
||
|
Will you now return, please?"
|
||
|
She turned her head -- the gateman's candle
|
||
|
shimmering upon her quick, clear eyes as she did so --
|
||
|
passed through the gate, and was soon wrapped in the
|
||
|
embowering shades of mysterious summer boughs.
|
||
|
Coggan and Gabriel put about their horses, and, fanned
|
||
|
by the velvety air of this July night, retraced the road
|
||
|
by which they had come.
|
||
|
"A strange vagary, this of hers, isn't it, Oak?" said
|
||
|
Coggan, curiously.
|
||
|
"Yes." said Gabriel, shortly.
|
||
|
"She won't be in Bath by no daylight!"
|
||
|
"Coggan, suppose we keep this night's work as quiet
|
||
|
as we can?"
|
||
|
"I am of one and the same mind."
|
||
|
"Very well. We shall be home by three o'clock or
|
||
|
so, and can creep into the parish like lambs."
|
||
|
Bathsheba's perturbed meditations by the roadside
|
||
|
had ultimately evolved a conclusion that there were only
|
||
|
two remedies for the present desperate state of affairs.
|
||
|
The first was merely to keep Troy away from Weather-
|
||
|
bury till Boldwood's indignation had cooled; the second
|
||
|
to listen to Oak's entreaties, and Boldwood's denuncia-
|
||
|
tions, and give up Troy altogether.
|
||
|
Alas! Could she give up this new love -- induce
|
||
|
him to renounce her by saying she did not like him --
|
||
|
could no more speak to him, and beg him, for her good,
|
||
|
to end his furlough in Bath, and see her and Weather-
|
||
|
bury no more?
|
||
|
It was a picture full of misery, but for a while she
|
||
|
contemplated it firmly, allowing herself, nevertheless,
|
||
|
as girls will, to dwell upon the happy life she would
|
||
|
have enjoyed had Troy been Boldwood, and the path
|
||
|
of love the path of duty -- inflicting upon herself gratuit-
|
||
|
ous tortures by imagining him the lover of another
|
||
|
woman after forgetting her; for she had penetrated
|
||
|
Troy's nature so far as to estimate his tendencies pretty
|
||
|
accurately, hut unfortunately loved him no less in
|
||
|
thinking that he might soon cease to love her -- indeed,
|
||
|
considerably more.
|
||
|
She jumped to her feet. She would see him at once.
|
||
|
Yes, she would implore him by word of mouth to assist
|
||
|
her in this dilemma. A letter to keep him away could
|
||
|
not reach him in time, even if he should be disposed to
|
||
|
listen to it.
|
||
|
Was Bathsheba altogether blind to the obvious fact
|
||
|
that the support of a lover's arms is not of a kind best
|
||
|
calculated to assist a resolve to renounce him? Or was
|
||
|
she sophistically sensible, with a thrill of pleasure, that
|
||
|
by adopting this course for getting rid of him she was
|
||
|
ensuring a meeting with him, at any rate, once more?
|
||
|
It was now dark, and the hour must have been nearly
|
||
|
ten. The only way to accomplish her purpose was to
|
||
|
give up her idea of visiting Liddy at Yalbury, return to
|
||
|
Weatherbury Farm, put the horse into the gig, and drive
|
||
|
at once to Bath. The scheme seemed at first impossible:
|
||
|
the journey was a fearfully heavy one, even for a strong
|
||
|
horse, at her own estimate; and she much underrated
|
||
|
the distance. It was most venturesome for a woman,
|
||
|
at night, and alone.
|
||
|
But could she go on to Liddy's and leave things to
|
||
|
take their course? No, no; anything but that. Bath-
|
||
|
sheba was full of a stimulating turbulence, beside which
|
||
|
caution vainly prayed for a hearing. she turned back
|
||
|
towards the village.
|
||
|
Her walk was slow, for she wished not to enter
|
||
|
Weatherbury till the cottagers were in bed, and, par-
|
||
|
ticularly, till Boldwood was secure. Her plan was now
|
||
|
to drive to Bath during the night, see Sergeant Troy in
|
||
|
the morning before he set out to come to her, bid him
|
||
|
farewell, and dismiss him: then to rest the horse
|
||
|
thoroughly (herself to weep the while, she thought),
|
||
|
starting early the next morning on her return journey.
|
||
|
By this arrangement she could trot Dainty gently all
|
||
|
the day, reach Liddy at Yalbury in the evening, and
|
||
|
come home to Weatherbury with her whenever they
|
||
|
chose -- so nobody would know she had been to Bath
|
||
|
at all.
|
||
|
Such was Bathsheba's scheme. But in her topo-
|
||
|
graphical ignorance as a late comer to the place, she
|
||
|
misreckoned the distance of her journey as not much
|
||
|
more than half what it really was. Her idea, however,
|
||
|
she proceeded to carry out, with what initial success we
|
||
|
have already seen.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXIII
|
||
|
|
||
|
|
||
|
|
||
|
IN THE SUN -- A HARBINGER
|
||
|
|
||
|
|
||
|
A WEEK passed, and there were no tidings of Bath-
|
||
|
sheba; nor was there any explanation of her Gilpin's
|
||
|
rig.
|
||
|
Then a note came for Maryann, stating that the
|
||
|
business which had called her mistress to Bath still
|
||
|
detained her there; but that she hoped to return
|
||
|
in the course of another week.
|
||
|
Another week passed. The oat-harvest began, and
|
||
|
all the men were a-field under a monochromatic Lammas
|
||
|
sky, amid the trembling air and short shadows of noon.
|
||
|
Indoors nothing was to be heard save the droning of
|
||
|
blue-bottle flies; out-of-doors the whetting of scythes
|
||
|
and the hiss of tressy oat-ears rubbing together as their
|
||
|
perpendicular stalks of amber-yellow fell heavily to each
|
||
|
swath. Every drop of moisture not in the men's bottles
|
||
|
and flagons in the form of cider was raining as perspira-
|
||
|
tion from their foreheads and cheeks. Drought was
|
||
|
everywhere else.
|
||
|
They were about to withdraw for a while into the
|
||
|
charitable shade of a tree in the fence, when Coggan
|
||
|
saw a figure in a blue coat and brass buttons running
|
||
|
to them across the field.
|
||
|
"I wonder who that is?" he said.
|
||
|
"I hope nothing is wrong about mistress." said
|
||
|
Maryann, who with some other women was tying the
|
||
|
bundles (oats being always sheafed on this farm), "but
|
||
|
an unlucky token came to me indoors this morning.
|
||
|
l went to unlock the door and dropped the key, and it
|
||
|
fell upon the stone floor and broke into two pieces.
|
||
|
Breaking a key is a dreadful bodement. I wish mis'ess
|
||
|
was home."
|
||
|
"'Tis Cain Ball." said Gabriel, pausing from whetting
|
||
|
his reaphook.
|
||
|
Oak was not bound by his agreement to assist in the
|
||
|
corn-field; but the harvest month is an anxious time for
|
||
|
a farmer, and the corn was Bathsheba's, so he lent a
|
||
|
hand.
|
||
|
"He's dressed up in his best clothes." said Matthew
|
||
|
Moon. "He hev been away from home for a few days,
|
||
|
since he's had that felon upon his finger; for 'a said,
|
||
|
since I can't work I'll have a hollerday."
|
||
|
"A good time for one -- a excellent time." said Joseph
|
||
|
Poorgrass, straightening his back; for he, like some of
|
||
|
the others, had a way of resting a while from his labour
|
||
|
on such hot days for reasons preternaturally small; of
|
||
|
which Cain Pall's advent on a week-day in his Sunday-
|
||
|
clothes was one of the first magnitude. "Twas a bad leg
|
||
|
allowed me to read the Pilgrim's Progress, and Mark
|
||
|
Clark learnt AliFours in a whitlow."
|
||
|
"Ay, and my father put his arm out of joint to have
|
||
|
time to go courting." said Jan Coggan, in an eclipsing
|
||
|
tone, wiping his face with his shirt-sleeve and thrusting
|
||
|
back his hat upon the nape of his neck.
|
||
|
By this time Cainy was nearing the group of harvesters,
|
||
|
and was perceived to be carrying a large slice of bread
|
||
|
and ham in one hand, from which he took mouthfuls
|
||
|
as he ran, the other being wrapped in a bandage.
|
||
|
When he came close, his mouth assumed the bell shape,
|
||
|
and he began to cough violently.
|
||
|
"Now, Cainy!" said Gabriel, sternly. "How many
|
||
|
more times must I tell you to keep from running so fast
|
||
|
when you be eating? You'll choke yourself some day,
|
||
|
that's what you'll do, Cain Ball."
|
||
|
"Hok-hok-hok!" replied Cain. "A crumb of my
|
||
|
victuals went the wrong way -- hok-hok!, That's what
|
||
|
'tis, Mister Oak! And I've been visiting to Bath
|
||
|
because I had a felon on my thumb; yes, and l've
|
||
|
seen -- ahok-hok!"
|
||
|
Directly Cain mentioned Bath, they all threw down
|
||
|
their hooks and forks and drew round him. Un-
|
||
|
fortunately the erratic crumb did not improve his
|
||
|
narrative powers, and a supplementary hindrance was
|
||
|
that of a sneeze, jerking from his pocket his rather large
|
||
|
watch, which dangled in front of the young man
|
||
|
pendulum-wise.
|
||
|
"Yes." he continued, directing his thoughts to Bath
|
||
|
and letting his eyes follow, "l've seed the world at last
|
||
|
-- yes -- and I've seed our mis'ess -- ahok-hok-hok!"
|
||
|
"Bother the boy!" said Gabriel." Something is
|
||
|
always going the wrong way down your throat, so that
|
||
|
you can't tell what's necessary to be told."
|
||
|
"Ahok! there! Please, Mister Oak, a gnat have
|
||
|
just fleed into my stomach and brought the cough on
|
||
|
again!"
|
||
|
"Yes, that's just it. Your mouth is always open, you
|
||
|
young rascal!"
|
||
|
"'Tis terrible bad to have a gnat fly down yer throat,
|
||
|
pore boy!" said Matthew Moon.
|
||
|
"Well, at Bath you saw -- --" prompted Gabriel.
|
||
|
"I saw our mistress." continued the junior shepherd,
|
||
|
"and a sojer, walking along. And bymeby they got
|
||
|
closer and closer, and then they went arm-in-crook, like
|
||
|
courting complete -- hok-hok! like courting complete --
|
||
|
hok! -- courting complete -- -- " Losing the thread of his
|
||
|
narrative at this point simultaneously with his loss of
|
||
|
breath, their informant looked up and down the field
|
||
|
apparently for some clue to it. "Well, I see our mis'ess
|
||
|
and a soldier -- a-ha-a-wk!"
|
||
|
"Damn the boy!" said Gabriel.
|
||
|
"'Tis only my manner, Mister Oak, if ye'll excuse it,"
|
||
|
said Cain Ball, looking reproachfully at Oak, with eyes
|
||
|
drenched in their own dew.
|
||
|
!Here's some cider for him -- that'll cure his throat,"
|
||
|
said Jan Coggan, lifting a flagon of cider, pulling out
|
||
|
the cork, and applying the hole to Cainy's mouth;
|
||
|
Joseph Poorgrass in the meantime beginning to think
|
||
|
apprehensively of the serious consequences that would
|
||
|
follow Cainy Ball's strangulation in his cough, and the
|
||
|
history of his Bath adventures dying with him.
|
||
|
"For my poor self, I always say "please God" afore
|
||
|
I do anything." said Joseph, in an unboastful voice; "and
|
||
|
so should you, Cain Ball. "'Tis a great safeguard, and
|
||
|
might perhaps save you from being choked to death
|
||
|
some day."
|
||
|
Mr. Coggan poured the liquor with unstinted liber-
|
||
|
ality at the suffering Cain's circular mouth; half of it
|
||
|
running down the side of the flagon, and half of what
|
||
|
reached his mouth running down outside his throat,
|
||
|
and half of what ran in going the wrong way, and being
|
||
|
coughed and sneezed around the persons of the gathered
|
||
|
reapers in the form of a cider fog, which for a moment
|
||
|
hung in the sunny air like a small exhalation.
|
||
|
"There's a great clumsy sneeze! Why can't ye have
|
||
|
better manners, you young dog!" said Coggan, with-
|
||
|
drawing the flagon.
|
||
|
"The cider went up my nose!" cried Cainy, as soon
|
||
|
as he could speak; "and now 'tis gone down my neck,
|
||
|
and into my poor dumb felon, and over my shiny
|
||
|
buttons and all my best cloze!"
|
||
|
"The poor lad's cough is terrible unfortunate." said
|
||
|
Matthew Moon. "And a great history on hand, too.
|
||
|
Bump his back, shepherd."
|
||
|
"'Tis my nater." mourned Cain. "Mother says I
|
||
|
always was so excitable when my feelings were worked
|
||
|
up to a point!"
|
||
|
"True, true." said Joseph Poorgrass. "The Balls
|
||
|
were always a very excitable family. I knowed the
|
||
|
boy's grandfather -- a truly nervous and modest man,
|
||
|
even to genteel refinery. 'Twas blush, blush with him,
|
||
|
almost as much as 'tis with me -- not but that 'tis a
|
||
|
fault in me!"
|
||
|
"Not at all, Master Poorgrass." said Coggan. "'Tis
|
||
|
a very noble quality in ye."
|
||
|
"Heh-heh! well, I wish to noise nothing abroad --
|
||
|
nothing at all." murmured Poorgrass, diffidently. "But
|
||
|
we be born to things -- that's true. Yet I would rather
|
||
|
my trifle were hid; though, perhaps, a high nater is a
|
||
|
little high, and at my birth all things were possible to
|
||
|
my Maker, and he may have begrudged no gifts....
|
||
|
But under your bushel, Joseph! under your bushel with
|
||
|
"ee! A strange desire, neighbours, this desire to hide,
|
||
|
and no praise due. Yet there is a Sermon on the
|
||
|
Mount with a calendar of the blessed at the head, and
|
||
|
certain meek men may be named therein."
|
||
|
"Cainy's grandfather was a very clever man." said
|
||
|
Matthew Moon. "Invented a' apple-tree out of his own
|
||
|
head, which is called by his name to this day -- the Early
|
||
|
Ball. You know 'em, Jan? A Quarrenden grafted on
|
||
|
a Tom Putt, and a Rathe-ripe upon top o' that again.
|
||
|
"'Tis trew 'a used to bide about in a public-house wi' a
|
||
|
woman in a way he had no business to by rights, but
|
||
|
there -- 'a were a clever man in the sense of the term."
|
||
|
"Now then." said Gabriel, impatiently, " what did you
|
||
|
see, Cain?"
|
||
|
"I seed our mis'ess go into a sort of a park place,
|
||
|
where there's seats, and shrubs and flowers, arm-in-crook
|
||
|
with a sojer." continued Cainy, firmly, and with a dim
|
||
|
sense that his words were very effective as regarded
|
||
|
Gabriel's emotions. "And I think the sojer was
|
||
|
Sergeant Troy. And they sat there together for more
|
||
|
than half-an-hour, talking moving things, and she once
|
||
|
was crying a'most to death. And when they came out
|
||
|
her eyes were shining and she was as white as a lily;
|
||
|
and they looked into one another's faces, as far-gone
|
||
|
friendly as a man and woman can be."
|
||
|
Gabriel's features seemed to get thinner. "Well,
|
||
|
what did you see besides?"
|
||
|
"Oh, all sorts."
|
||
|
"White as a lily? You are sure 'twas she?
|
||
|
"Yes."
|
||
|
"Well, what besides?"
|
||
|
"Great glass windows to the shops, and great clouds
|
||
|
in the sky, full of rain, and old wooden trees in the
|
||
|
country round."
|
||
|
"You stun-poll! What will ye say next?" said
|
||
|
Coggan.
|
||
|
"Let en alone." interposed Joseph Poorgrass. "The
|
||
|
boy's meaning is that the sky and the earth in the
|
||
|
kingdom of Bath is not altogether different from ours
|
||
|
here. 'Tis for our good to gain knowledge of strange
|
||
|
cities, and as such the boy's words should be suffered,
|
||
|
so to speak it."
|
||
|
"And the people of Bath." continued Cain, "never
|
||
|
need to light their fires except as a luxury, for the
|
||
|
water springs up out of the earth ready boiled for
|
||
|
use."
|
||
|
"'Tis true as the light." testified Matthew Moon." I've
|
||
|
heard other navigators say the same thing."
|
||
|
"They drink nothing else there." said Cain," and seem
|
||
|
to enjoy it, to see how they swaller it down."
|
||
|
"Well, it seems a barbarian practice enough to us,
|
||
|
but I daresay the natives think nothing o' it." said
|
||
|
Matthew.
|
||
|
"And don't victuals spring up as well as drink?"
|
||
|
asked Coggan, twirling his eye.
|
||
|
"No-i own to a blot there in Bath -- a true blot.
|
||
|
God didn't provide 'em with victuals as well as (-
|
||
|
and 'twas a drawback I couldn't get over at all."
|
||
|
"Well, 'tis a curious place, to say the least." observed
|
||
|
Moon; "and it must be a curious people that live
|
||
|
therein. "
|
||
|
"Miss Everdene and the soldier were walking about
|
||
|
together, you say?" said Gabriel, returning to the
|
||
|
group.
|
||
|
"Ay, and she wore a beautiful gold-colour silk
|
||
|
gown, trimmed with black lace, that would have stood
|
||
|
alone 'ithout legs inside if required. 'Twas a very
|
||
|
winsome sight; and her hair was brushed splendid.
|
||
|
And when the sun shone upon the bright gown and his
|
||
|
red coat -- my! how handsome they looked. You
|
||
|
could see 'em all the length of the street."
|
||
|
"And what then?" murmured Gabriel.
|
||
|
"And then I went into Griffin's to hae my boots
|
||
|
hobbed, and then I went to Riggs's batty-cake shop,
|
||
|
and asked 'em for a penneth of the cheapest and nicest
|
||
|
stales, that were all but blue-mouldy, but not quite.
|
||
|
And whilst I was chawing 'em down I walked on and
|
||
|
seed a clock with a face as big as a baking trendle -- -- "
|
||
|
"But that's nothing to do with mistress!"
|
||
|
"I'm coming to that, if you'll leave me alone, Mister
|
||
|
Oak!" remonstrated Cainy. "If you excites me,
|
||
|
perhaps you'll bring on my cough, and then I shan't be
|
||
|
able to tell ye nothing."
|
||
|
"Yes-let him tell it his own way." said Coggan.
|
||
|
Gabriel settled into a despairing attitude of patience,
|
||
|
and Cainy went on: --
|
||
|
"And there were great large houses, and more
|
||
|
people all the week long than at Weatherbury club-
|
||
|
walking on White Tuesdays. And I went to grand
|
||
|
churches and chapels. And how the parson would pray!
|
||
|
Yes; he would kneel down and put up his hands
|
||
|
together, and make the holy gold rings on his fingers
|
||
|
gleam and twinkle in yer eyes, that he'd earned
|
||
|
by praying so excellent well! -- Ah yes, I wish I lived
|
||
|
there."
|
||
|
"Our poor Parson Thirdly can't get no money to
|
||
|
buy such rings." said Matthew Moon, thoughtfully.
|
||
|
"And as good a man as ever walked. I don't believe
|
||
|
poor Thirdly have a single one, even of humblest tin or
|
||
|
copper. Such a great ornament as they'd be to him on
|
||
|
a dull afternoon, when he's up in the pulpit lighted by
|
||
|
the wax candles! But 'tis impossible, poor man. Ah,
|
||
|
to think how unequal things be."
|
||
|
"Perhaps he's made of different stuff than to wear
|
||
|
"em." said Gabriel, grimly." Well, that's enough of this.
|
||
|
Go on, Cainy -- quick."
|
||
|
"Oh -- and the new style of parsons wear moustaches
|
||
|
and long beards." continued the illustrious traveller,
|
||
|
"and look like Moses and Aaron complete, and make
|
||
|
we fokes in the congregation feel all over like the
|
||
|
children of Israel."
|
||
|
"A very right feeling -- very." said Joseph Poorgrass.
|
||
|
"And there's two religions going on in the nation
|
||
|
now -- High Church and High Chapel. And, thinks I,
|
||
|
I'll play fair; so I went to High Church in the morning,
|
||
|
and High Chapel in the afternoon."
|
||
|
"A right and proper boy." said Joseph Poorgrass.
|
||
|
"Well, at High Church they pray singing, and worship
|
||
|
all the colours of the rainbow; and at High Chapel they
|
||
|
pray preaching, and worship drab and whitewash only.
|
||
|
And then-i didn't see no more of Miss Everdene at
|
||
|
all."
|
||
|
"Why didn't you say so afore, then?" exclaimed Oak,
|
||
|
with much disappointment.
|
||
|
"Ah." said Matthew Moon, 'she'll wish her cake
|
||
|
dough if so be she's over intimate with that man."
|
||
|
"She's not over intimate with him." said Gabriel,
|
||
|
indignantly.
|
||
|
"She would know better." said Coggan. "Our
|
||
|
mis'ess has too much sense under they knots of black
|
||
|
hair to do such a mad thing."
|
||
|
"You see, he's not a coarse, ignorant man, for he
|
||
|
was well brought up." said Matthew, dubiously. "'Twas
|
||
|
only wildness that made him a soldier, and maids rather
|
||
|
like your man of sin."
|
||
|
"Now, Cain Ball." said Gabriel restlessly, "can you
|
||
|
swear in the most awful form that the woman you saw
|
||
|
was Miss Everdene?"
|
||
|
"Cain Ball, you be no longer a babe and suckling,"
|
||
|
said Joseph in the sepulchral tone the circumstances
|
||
|
demanded, "and you know what taking an oath is.
|
||
|
'Tis a horrible testament mind ye, which you say and
|
||
|
seal with your blood-stone, and the prophet Matthew
|
||
|
tells us that on whomsoever it shall fall it will grind
|
||
|
him to powder. Now, before all the work-folk here
|
||
|
assembled, can you swear to your words as the shep-
|
||
|
herd asks ye?"
|
||
|
"Please no, Mister Oak!" said Cainy, looking from
|
||
|
one to the other with great uneasiness at the spiritual
|
||
|
magnitude of the position. "I don't mind saying 'tis
|
||
|
true, but I don't like to say 'tis damn true, if that's
|
||
|
what you mane."
|
||
|
"Cain, Cain, how can you!" asked Joseph sternly.
|
||
|
"You be asked to swear in a holy manner, and you
|
||
|
swear like wicked Shimei, the son of Gera, who cursed
|
||
|
as he came. Young man, fie!"
|
||
|
"No, I don't! 'Tis you want to squander a pore
|
||
|
boy's soul, Joseph Poorgrass -- that's what 'tis!" said
|
||
|
Cain, beginning to cry. "All I mane is that in common
|
||
|
truth 'twas Miss Everdene and Sergeant Troy, but in
|
||
|
the horrible so-help-me truth that ye want to make of
|
||
|
it perhaps 'twas somebody else!"
|
||
|
"There's no getting at the rights of it." said Gabriel,
|
||
|
turning to his work.
|
||
|
"Cain Ball, you'll come to a bit of bread!" groaned
|
||
|
Joseph Poorgrass.
|
||
|
Then the reapers' hooks were flourished again, and
|
||
|
the old sounds went on. Gabriel, without making any
|
||
|
pretence of being lively, did nothing to show that he
|
||
|
was particularly dull. However, Coggan knew pretty
|
||
|
nearly how the land lay, and when they were in a nook
|
||
|
together he said --
|
||
|
"Don't take on about her, Gabriel. What difference
|
||
|
does it make whose sweetheart she is, since she can't be
|
||
|
yours?"
|
||
|
"That's the very thing I say to myself." said Gabriel.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXIV
|
||
|
|
||
|
|
||
|
|
||
|
HOME AGAIN -- A TRICKSTER
|
||
|
|
||
|
|
||
|
THAT same evening at dusk Gabriel was leaning over
|
||
|
Coggan's garden-gate, taking an up-and-down survey
|
||
|
before retiring to rest.
|
||
|
A vehicle of some kind was softly creeping along
|
||
|
the grassy margin of the lane. From it spread the
|
||
|
tones of two women talking. The tones were natural
|
||
|
and not at all suppressed. Oak instantly knew the
|
||
|
voices to he those of Bathsheba and Liddy.
|
||
|
The carriage came opposite and passed by. It was
|
||
|
Miss Everdene's gig, and Liddy and her mistress were
|
||
|
the only occupants of the seat. Liddy was asking
|
||
|
questions about the city of Bath, and her companion
|
||
|
was answering them listlessly and unconcernedly. Both
|
||
|
Bathsheba and the horse seemed weary.
|
||
|
The exquisite relief of finding that she was here
|
||
|
again, safe and sound, overpowered all reflection, and
|
||
|
Oak could only luxuriate in the sense of it. All grave
|
||
|
reports were forgotten.
|
||
|
He lingered and lingered on, till there was no
|
||
|
difference between the eastern and western expanses
|
||
|
of sky, and the timid hares began to limp courageously
|
||
|
round the dim hillocks. Gabriel might have been
|
||
|
there an additional half-hour when a dark form walked
|
||
|
slowly by. "Good-night, Gabriel." the passer said.
|
||
|
It was Boldwood. "Good-night, sir." said Gabriel.
|
||
|
Boldwood likewise vanished up the road, and Oak
|
||
|
shortly afterwards turned indoors to bed.
|
||
|
Farmer Boldwood went on towards Miss Everdene's
|
||
|
house. He reached the front, and approaching the
|
||
|
entrance, saw a light in the parlour. The blind was
|
||
|
not drawn down, and inside the room was Bathsheba,
|
||
|
looking over some papers or letters. Her back was
|
||
|
towards Boldwood. He went to the door, knocked,
|
||
|
and waited with tense muscles and an aching brow.
|
||
|
Boldwood had not been outside his garden since
|
||
|
his meeting with Bathsheba in the road to Yalbury.
|
||
|
Silent and alone, he had remained in moody medita-
|
||
|
tion on woman's ways, deeming as essentials of the
|
||
|
whole sex the accidents of the single one of their
|
||
|
number he had ever closely beheld. By degrees a
|
||
|
more charitable temper had pervaded him, and this
|
||
|
was the reason of his sally to-night. He had come to
|
||
|
apologize and beg forgiveness of Bathsheba with some-
|
||
|
thing like a sense of shame at his violence, having but
|
||
|
just now learnt that she had returned -- only from a
|
||
|
visit to Liddy, as he supposed, the Bath escapade
|
||
|
being quite unknown to him.
|
||
|
He inquired for Miss Everdene. Liddy's manner
|
||
|
was odd, but he did not notice it. She went in, leaving
|
||
|
him standing there, and in her absence the blind of the
|
||
|
room containing Bathsheba was pulled down. Bold-
|
||
|
wood augured ill from that sign. Liddy came out.
|
||
|
"My mistress cannot see you, sir." she said.
|
||
|
The farmer instantly went out by the gate. He
|
||
|
as unforgiven -- that was the issue of it all. He had
|
||
|
seen her who was to him simultaneously a delight and
|
||
|
a torture, sitting in the room he had shared with her
|
||
|
as a peculiarly privileged guest only a little earlier in
|
||
|
he summer, and she had denied him an entrance
|
||
|
there now.
|
||
|
Boldwood did not hurry homeward. It was ten
|
||
|
o'clock at least, when, walking deliberately through the
|
||
|
lower part of Weatherbury, he heard the carrier's spring
|
||
|
van entering the village. The van ran to and from a
|
||
|
town in a northern direction, and it was owned and
|
||
|
driven by a Weatherbury man, at the door of whose
|
||
|
house it now pulled up. The lamp fixed to the head
|
||
|
of the hood illuminated a scarlet and gilded form, who
|
||
|
was the first to alight.
|
||
|
"Ah!" said Boldwood to himself, "come to see her
|
||
|
again."
|
||
|
Troy entered the carrier's house, which had been
|
||
|
the place of his lodging on his last visit to his native
|
||
|
place. Boldwood was moved by a sudden determina-
|
||
|
tion. He hastened home. In ten minutes he was
|
||
|
back again, and made as if he were going to call upon
|
||
|
Troy at the carrier's. But as he approached, some
|
||
|
one opened the door and came out. He heard this
|
||
|
person say " Good-night" to the inmates, and the voice
|
||
|
was Troy's. "This was strange, coming so immediately
|
||
|
after his arrival. Boldwood, however, hastened up
|
||
|
to him. Troy had what appeared to be a carpet-bag
|
||
|
in his hand -- the same that he had brought with him.
|
||
|
It seemed as if he were going to leave again this very
|
||
|
night.
|
||
|
Troy turned up the hill and quickened his pace.
|
||
|
Boldwood stepped forward.
|
||
|
"Sergeant Troy?"
|
||
|
"Yes-i'm Sergeant Troy."
|
||
|
"Just arrived from up the country, I think?"Just arrived from Bath."
|
||
|
"I am William Boldwood."
|
||
|
"Indeed."
|
||
|
The tone in which this word was uttered was all
|
||
|
that had been wanted to bring Boldwood to the
|
||
|
point.
|
||
|
"I wish to speak a word with you." he said.
|
||
|
"What about?"
|
||
|
"About her who lives just ahead there -- and about
|
||
|
a woman you have wronged."
|
||
|
"I wonder at your impertinence." said Troy, moving
|
||
|
on.
|
||
|
"Now look here." said Boldwood, standing in front
|
||
|
of him, " wonder or not, you are going to hold a conver-
|
||
|
sation with me."
|
||
|
Troy heard the dull determination in Boldwood's
|
||
|
voice, looked at his stalwart frame, then at the thick
|
||
|
cudgel he carried in his hand. He remembered it was
|
||
|
past ten o'clock. It seemed worth while to be civil to
|
||
|
Boldwood.
|
||
|
"Very well, I'll listen with pleasure." said Troy,
|
||
|
placing his bag on the ground, "only speak low, for
|
||
|
somebody or other may overhear us in the farmhouse
|
||
|
there."
|
||
|
"Well then -- I know a good deal concerning your
|
||
|
Fanny Robin's attachment to you. I may say, too, that
|
||
|
I believe I am the only person in the village, excepting
|
||
|
Gabriel Oak, who does know it. You ought to marry
|
||
|
her."
|
||
|
"I suppose I ought. Indeed, l wish to, but I
|
||
|
cannot."
|
||
|
"Why?"
|
||
|
Troy was about to utter something hastily; he then
|
||
|
checked himself and said, "I am too poor." His voice
|
||
|
was changed. Previously it had had a devil-may-care
|
||
|
tone. It was the voice of a trickster now.
|
||
|
Boldwood's present mood was not critical enough to
|
||
|
notice tones. He continued, "I may as well speak
|
||
|
plainly; and understand, I don't wish to enter into the
|
||
|
questions of right or wrong, woman's honour and shame,
|
||
|
or to express any opinion on your conduct. I intend a
|
||
|
business transaction with you."
|
||
|
"I see." said Troy. "Suppose we sit down here."
|
||
|
An old tree trunk lay under the hedge immediately
|
||
|
opposite, and they sat down.
|
||
|
The tone in which this word was uttered was all
|
||
|
Troy heard the dull determination in Boldwood's
|
||
|
voice, looked at his stalwart frame, then at the thick
|
||
|
plainly; and understand, I don't wish to enter into the
|
||
|
"I was engaged to be married to Miss Everdene,"
|
||
|
said Boldwood, "but you came and -- -- "
|
||
|
"Not engaged." said Troy.
|
||
|
"As good as engaged."
|
||
|
"If I had not turned up she might have become en-
|
||
|
gaged to you."
|
||
|
"Hang might!"Would, then."
|
||
|
"If you had not come I should certainly -- yes,
|
||
|
certainly -- have been accepted by this time. If you had
|
||
|
not seen her you might have been married to Fanny.
|
||
|
Well, there's too much difference between Miss Ever-
|
||
|
dene's station and your own for this flirtation with her
|
||
|
ever to benefit you by ending in marriage. So all I ask
|
||
|
is, don't molest her any more. Marry Fanny.
|
||
|
make it worth your while."
|
||
|
"How will you?"
|
||
|
"I'll pay you well now, I'll settle a sum of money
|
||
|
upon her, and I'll see that you don't suffer from poverty
|
||
|
in the future. I'll put it clearly. Bathsheba is only
|
||
|
playing with you: you are too poor for her as I said;
|
||
|
so give up wasting your time about a great match you'll
|
||
|
never make for a moderate and rightful match you may
|
||
|
make to-morrow; take up your carpet-bag, turn about,
|
||
|
leave Weatherbury now, this night, and you shall take
|
||
|
fifty pounds with you. Fanny shall have fifty to enable
|
||
|
her to prepare for the wedding, when you have told me
|
||
|
where she is living, and she shall have five hundred
|
||
|
paid down on her wedding-day."
|
||
|
In making this statement Boldwood's voice revealed
|
||
|
only too clearly a consciousness of the weakness of his
|
||
|
position, his aims, and his method. His manner had
|
||
|
lapsed quite from that of the firm and dignified Bold-
|
||
|
wood of former times; and such a scheme as he had
|
||
|
now engaged in he would have condemned as childishly
|
||
|
imbecile only a few months ago. We discern a grand
|
||
|
force in the lover which he lacks whilst a free man; but
|
||
|
there is a breadth of vision in the free man which in
|
||
|
the lover we vainly seek. Where there is much bias
|
||
|
there must be some narrowness, and love, though added
|
||
|
emotion, is subtracted capacity. Boldwood exemplified
|
||
|
this to an abnormal degree: he knew nothing of Fanny
|
||
|
Robin's circumstances or whereabouts, he knew nothing
|
||
|
of Troy's possibilities, yet that was what he said.
|
||
|
"I like Fanny best." said Troy; "and if, as you say,
|
||
|
Miss Everdene is out of my reach, why I have all to
|
||
|
gain by accepting your money, and marrying Fan. But
|
||
|
she's only a servant."
|
||
|
"Never mind -- do you agree to my arrangement?"
|
||
|
"I do."
|
||
|
"Ah!" said Boldwood, in a more elastic voice. "O,
|
||
|
Troy, if you like her best, why then did you step in here
|
||
|
and injure my happiness?"
|
||
|
"I love Fanny best now." said Troy. "But
|
||
|
Bathsh -- -- Miss Everdene inflamed me, and displaced
|
||
|
Fanny for a time. It is over now."
|
||
|
"Why should it be over so soon? And why then
|
||
|
did you come here again?"
|
||
|
"There are weighty reasons. Fifty pounds at once,
|
||
|
you said!"
|
||
|
"I did." said Boldwood, " and here they are -- fifty
|
||
|
sovereigns." He handed Troy a small packet.
|
||
|
"You have everything ready -- it seems that you
|
||
|
calculated on my accepting them." said the sergeant,
|
||
|
taking the packet.
|
||
|
"I thought you might accept them." said Boldwood.
|
||
|
"You've only my word that the programme shall be
|
||
|
adhered to, whilst I at any rate have fifty pounds."
|
||
|
"l had thought of that, and l have considered that
|
||
|
if I can't appeal to your honour I can trust to your --
|
||
|
well, shrewdness we'll call it -- not to lose five hundred
|
||
|
pounds in prospect, and also make a bitter enemy of a
|
||
|
man who is willing to be an extremely useful friend."
|
||
|
"Stop, listen!" said Troy in a whisper.
|
||
|
A light pit-pat was audible upon the road just above
|
||
|
them.
|
||
|
"By George -- 'tis she." he continued. "I must go
|
||
|
on and meet her."
|
||
|
"She -- who?"
|
||
|
"Bathsheba."
|
||
|
"Bathsheba -- out alone at this time o' night!" said
|
||
|
Boldwood in amazement, and starting up." Why must
|
||
|
you meet her?"
|
||
|
"She was expecting me to-night -- and I must now
|
||
|
speak to her, and wish her good-bye, according to your
|
||
|
wish. "
|
||
|
"I don't see the necessity of speaking."
|
||
|
"It can do no harm -- and she'll be wandering about
|
||
|
looking for me if I don't. You shall hear all I say to her.
|
||
|
It will help you in your love-making when I am gone."
|
||
|
"Your tone is mocking."
|
||
|
"O no. And remember this, if she does not know
|
||
|
what has become of me, she will think more about me
|
||
|
than if I tell her flatly I have come to give her up."
|
||
|
"Will you confine your words to that one point? --
|
||
|
Shall I hear every word you say?"
|
||
|
"Every word. Now sit still there, and hold my"
|
||
|
carpet bag for me, and mark what you hear."
|
||
|
The light footstep came closer, halting occasionally,
|
||
|
as if the walker listened for a sound. Troy whistled a
|
||
|
double note in a soft, fluty tone.
|
||
|
"Come to that, is it!" murmured Boldwood, uneasily.
|
||
|
"You promised silence." said Troy.
|
||
|
"I promise again."
|
||
|
Troy stepped forward.
|
||
|
"Frank, dearest, is that you?" The tones were
|
||
|
Bathsheba's.
|
||
|
"O God!" said Boldwood.
|
||
|
"Yes." said Troy to her.
|
||
|
"How late you are." she continued, tenderly. "Did
|
||
|
you come by the carrier? I listened and heard his
|
||
|
wheels entering the village, but it was some time ago,
|
||
|
and I had almost given you up, Frank."
|
||
|
"I was sure to come." said Frank. "You knew I
|
||
|
should, did you not?"
|
||
|
"Well, I thought you would." she said, playfully;
|
||
|
"and, Frank, it is so lucky! There's not a soul in my
|
||
|
house but me to-night. I've packed them all off so
|
||
|
nobody on earth will know of your visit to your lady's
|
||
|
bower. Liddy wanted to go to her grandfather's to
|
||
|
tell him about her holiday, and I said she might stay
|
||
|
with them till to-morrow -- when you'll be gone again."
|
||
|
"Capital." said Troy." But, dear me, I. had better
|
||
|
go back for my bag, because my slippers and brush and
|
||
|
comb are in it; you run home whilst I fetch it, and I'll
|
||
|
promise to be in your parlour in ten minutes."
|
||
|
"Yes." She turned and tripped up the hill again.
|
||
|
During the progress of this dialogue there was a
|
||
|
nervous twitching of Boldwood's tightly closed lips, and
|
||
|
his face became bathed in a clammy dew. He now
|
||
|
started forward towards Troy. Troy turned to him and
|
||
|
took up the bag.
|
||
|
"Shall I tell her I have come to give her up and
|
||
|
cannot marry her?" said the soldier, mockingly.
|
||
|
"No, no; wait a minute. I want to say more to
|
||
|
you -- more to you!" said Boldwood, in a hoarse whisper.
|
||
|
"Now." said Troy," you see my dilemma. Perhaps
|
||
|
I am a bad man -- the victim of my impulses -- led away
|
||
|
to do what I ought to leave undone. I can't, however,
|
||
|
marry them both. And I have two reasons for- choosing
|
||
|
Fanny. First, I like her best upon the whole, and
|
||
|
second, you make it worth my while."
|
||
|
At the same instant Boldwood sprang upon him, and
|
||
|
held him by the neck. Troy felt Boldwood's grasp slowly
|
||
|
tightening. The move was absolutely unexpected.
|
||
|
"A moment." he gasped. "You are injuring her you
|
||
|
love!"
|
||
|
"Well, what do you mean?" said the farmer.
|
||
|
Give me breath." said Troy.
|
||
|
Boldwood loosened his hand, saying, "By Heaven,
|
||
|
I've a mind to kill you!"
|
||
|
"And ruin her."
|
||
|
"Save her."
|
||
|
"Oh, how can she be saved now, unless I marry her?"
|
||
|
Boldwood groaned. He reluctantly released the
|
||
|
soldier, and flung him back against the hedge. "Devil,
|
||
|
you torture me!" said he.
|
||
|
Troy rebounded like a ball, and was about to make
|
||
|
a dash at the farmer; but he checked himself, saying
|
||
|
lightly --
|
||
|
"It is not worth while to measure my strength with
|
||
|
you. Indeed it is a barbarous way of settling a quarrel.
|
||
|
I shall shortly leave the army because of the same
|
||
|
conviction. Now after that revelation of how the land
|
||
|
lies with Bathsheba, 'twould be a mistake to kill me,
|
||
|
would it not?"
|
||
|
"'Twould be a mistake to kill you." repeated Boldwood,
|
||
|
mechanically, with a bowed head.
|
||
|
"Better kill yourself."
|
||
|
"Far better."
|
||
|
"I'm glad you see it."
|
||
|
"Troy, make her your wife, and don't act upon what
|
||
|
I arranged just now. The alternative is dreadful, but
|
||
|
take Bathsheba; I give her up! She must love you
|
||
|
indeed to sell soul and body to you so utterly as she
|
||
|
has done. Wretched woman -- deluded woman -- you
|
||
|
are, Bathsheba!"
|
||
|
"But about Fanny?"
|
||
|
"Bathsheba is a woman well to do." continued Bold-
|
||
|
wood, in nervous anxiety, and, Troy, she will make a
|
||
|
good wife; and, indeed, she is worth your hastening
|
||
|
on your marriage with her! "
|
||
|
"But she has a will-not to say a temper, and I shall
|
||
|
be a mere slave to her. I could do anything with poor
|
||
|
Fanny Robin."
|
||
|
"Troy." said Boldwood, imploringly," I'll do anything
|
||
|
for you, only don't desert her; pray don't desert her,
|
||
|
Troy."
|
||
|
"Which, poor Fanny?"
|
||
|
"No; Bathsheba Everdene. Love her best! Love
|
||
|
her tenderly! How shall I get you to see how advan-
|
||
|
tageous it will be to you to secure her at once?"
|
||
|
"I don't wish to secure her in any new way."
|
||
|
Boldwood's arm moved spasmodically towards Troy's
|
||
|
person again. He repressed the instinct, and his form
|
||
|
drooped as with pain.
|
||
|
Troy went on --
|
||
|
"I shall soon purchase my discharge, and then -- -- "
|
||
|
"But I wish you to hasten on this marriage! It will
|
||
|
be better for you both. You love each other, and you
|
||
|
must let me help you to do it."
|
||
|
"How?"
|
||
|
"Why, by settling the five hundred on Bathsheba
|
||
|
instead of Fanny, to enable you to marry at once.
|
||
|
No; she wouldn't have it of me. I'll pay it down to
|
||
|
you on the wedding-day."
|
||
|
Troy paused in secret amazement at Boldwood's
|
||
|
wild infatuation. He carelessly said, "And am I to
|
||
|
have anything now?"
|
||
|
"Yes, if you wish to. But I have not much additional
|
||
|
money with me. I did not expect this; but all I have
|
||
|
is yours."
|
||
|
Boldwood, more like a somnambulist than a wakeful
|
||
|
man, pulled out the large canvas bag he carried by way
|
||
|
of a purse, and searched it.
|
||
|
"I have twenty-one pounds more with me." he said.
|
||
|
"Two notes and a sovereign. But before I leave you
|
||
|
I must have a paper signed -- -- "
|
||
|
"Pay me the money, and we'll go straight to her
|
||
|
parlour, and make any arrangement you please to secure
|
||
|
my compliance with your wishes. But she must know
|
||
|
nothing of this cash business."
|
||
|
"Nothing, nothing." said Boldwood, hastily. "Here
|
||
|
is the sum, and if you'll come to my house we'll write
|
||
|
out the agreement for the remainder, and the terms
|
||
|
also."
|
||
|
"First we'll call upon her."
|
||
|
"But why? Come with me to-night, and go with
|
||
|
me to-morrow to the surrogate's."
|
||
|
"But she must be consulted; at any rate informed."
|
||
|
"Very well; go on."
|
||
|
They went up the hill to Bathsheba's house. When
|
||
|
they stood at the entrance, Troy said, "Wait here a
|
||
|
moment." Opening the door, he glided inside, leaving
|
||
|
the door ajar.
|
||
|
Boldwood waited. In two minutes a light appeared
|
||
|
in the passage. Boldwood then saw that the chain
|
||
|
had been fastened across the door. Troy appeared
|
||
|
inside, carrying a bedroom candlestick.
|
||
|
"What, did you think I should break in?" said
|
||
|
Boldwood, contemptuously.
|
||
|
"Oh, no, it is merely my humour to secure things.
|
||
|
Will you read this a moment? I'll hold the light."
|
||
|
Troy handed a folded newspaper through the slit
|
||
|
between door and doorpost, and put the candle close.
|
||
|
"That's the paragraph." he said, placing his finger on
|
||
|
a line.
|
||
|
Boldwood looked and read --
|
||
|
"MARRIAGES.
|
||
|
"On the 17th inst., at St. Ambrose's Church, Bath,
|
||
|
by the Rev. G. Mincing, B.A., Francis Troy, only son
|
||
|
of the late Edward Troy, Esq., H.D., of Weatherbury,
|
||
|
and sergeant with Dragoon Guards, to Bathsheba, only
|
||
|
surviving daughter of the late Mr, John Everdene, of
|
||
|
Casterbridge."
|
||
|
"This may be called Fort meeting Feeble, hey,
|
||
|
Boldwood?" said Troy. A low gurgle of derisive
|
||
|
laughter followed the words.
|
||
|
The paper fell from Boldwood's hands. Troy
|
||
|
continued --
|
||
|
"Fifty pounds to marry Fanny, Good. Twenty--
|
||
|
one pounds not to marry Fanny, but Bathsheba. Good.
|
||
|
Finale: already Bathsheba's husband. Now, Boldwood,
|
||
|
yours is the ridiculous fate which always attends inter-
|
||
|
ference between a man and his wife. And another
|
||
|
word. Bad as I am, I am not such a villain as to
|
||
|
make the marriage or misery of any woman a matter
|
||
|
of huckster and sale. Fanny has long ago left me.
|
||
|
don't know where she is. I have searched everywhere.
|
||
|
Another word yet. You say you love Bathsheba; yet
|
||
|
on the merest apparent evidence you instantly believe
|
||
|
in her dishonour. A fig for such love! Now that I've
|
||
|
taught you a lesson, take your money back again."
|
||
|
"I will not; I will not!" said Boldwood, in a hiss.
|
||
|
"Anyhow I won't have it." said Troy, contemptuously.
|
||
|
He wrapped the packet of gold in the notes, and threw
|
||
|
the whole into the road.
|
||
|
Boldwood shook his clenched fist at him. "You
|
||
|
juggler of Satan! You black hound! But I'll punish
|
||
|
you yet; mark me, I'll punish you yet!"
|
||
|
Another peal of laughter. Troy then closed the
|
||
|
door, and locked himself in.
|
||
|
Throughout the whole of that night Boldwood's dark
|
||
|
downs of Weatherbury like an unhappy Shade in the
|
||
|
Mournful Fields by Acheron.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXV
|
||
|
|
||
|
|
||
|
|
||
|
AT AN UPPER WINDOW
|
||
|
|
||
|
|
||
|
IT was very early the next morning -- a time of sun and
|
||
|
dew. The confused beginnings of many birds' songs
|
||
|
spread into the healthy air, and the wan blue of the
|
||
|
heaven was here and there coated with thin webs of
|
||
|
incorporeal cloud which were of no effect in obscuring
|
||
|
day. All the lights in the scene were yellow as to
|
||
|
colour, and all the shadows were attenuated as to form.
|
||
|
The creeping plants about the old manor-house were
|
||
|
bowed with rows of heavy water drops, which had upon
|
||
|
objects behind them the effect of minute lenses of high
|
||
|
magnifying power.
|
||
|
Just before the clock struck five Gabriel Oak and
|
||
|
Coggan passed the village cross, and went on together
|
||
|
to the fields. They were yet barely in view of their
|
||
|
mistress's house, when Oak fancied he saw the opening
|
||
|
of a casement in one of the upper windows. The two
|
||
|
men were at this moment partially screened by an elder
|
||
|
bush, now beginning to be enriched with black bunches
|
||
|
of fruit, and they paused before emerging from its
|
||
|
shade.
|
||
|
A handsome man leaned idly from the lattice. He
|
||
|
looked east and then west, in the manner of one who
|
||
|
makes a first morning survey. The man was Sergeant
|
||
|
Troy. His red jacket was loosely thrown on, but not
|
||
|
buttoned, and he had altogether the relaxed bearing of
|
||
|
a soldier taking his ease.
|
||
|
Coggan spoke first, looking quietly at the window.
|
||
|
"She has married him!" he said.
|
||
|
Gabriel had previously beheld the sight, and he now
|
||
|
stood with his back turned, making no reply.
|
||
|
"I fancied we should know something to-day." con-
|
||
|
tinued Coggan. "I heard wheels pass my door just
|
||
|
after dark -- you were out somewhere."He glanced
|
||
|
round upon Gabriel. "Good heavens above us, Oak,
|
||
|
how white your face is; you look like a corpse!"
|
||
|
"Do I?" said Oak, with a faint smile.
|
||
|
"Lean on the gate: I'll wait a bit."
|
||
|
"All right, all right."
|
||
|
They stood by the gate awhile, Gabriel listlessly
|
||
|
staring at the ground. His mind sped into the future,
|
||
|
and saw there enacted in years of leisure the scenes o
|
||
|
repentance that would ensue from this work of haste
|
||
|
That they were married he had instantly decided. Why
|
||
|
had it been so mysteriously managed? It had become
|
||
|
known that she had had a fearful journey to Bath, owing
|
||
|
to her miscalculating the distance: that the horse had
|
||
|
broken down, and that she had been more than two
|
||
|
days getting there. It was not Bathsheba's way to do
|
||
|
things furtively. With all her faults, she was candour
|
||
|
itself. Could she have been entrapped? The union
|
||
|
was not only an unutterable grief to him: it amazed
|
||
|
him, notwithstanding that he had passed the preceding
|
||
|
week in a suspicion that such might be the issue of
|
||
|
Troy's meeting her away from home. Her quiet return
|
||
|
with liddy had to some extent dispersed the dread.
|
||
|
Just as that imperceptible motion which appears like
|
||
|
stillness is infinitely divided in its properties from stili
|
||
|
ness itself, so had his hope undistinguishable from
|
||
|
despair differed from despair indeed.
|
||
|
In a few minutes they moved on again towards the
|
||
|
house. The sergeant still looked from the window.
|
||
|
"Morning, comrades!" he shouted, in a cheery voice,
|
||
|
when they came up.
|
||
|
Coggan replied to the greeting. "Bain't ye going to
|
||
|
answer the man?" he then said to Gabriel. "I'd say
|
||
|
good morning -- you needn't spend a hapenny of meaning
|
||
|
upon it, and yet keep the man civil."
|
||
|
Gabriel soon decided too that, since the deed was
|
||
|
done, to put the best face upon the matter would be the
|
||
|
greatest kindness to her he loved.
|
||
|
"Good morning, Sergeant Troy." he returned, in a
|
||
|
ghastly voice.
|
||
|
"A rambling, gloomy house this." said Troy, smiling.
|
||
|
"Why -- they may not be married!" suggested Coggan.
|
||
|
"Perhaps she's not there."
|
||
|
Gabriel shook his head. The soldier turned a little
|
||
|
towards the east, and the sun kindled his scarlet coat
|
||
|
to an orange glow.
|
||
|
"But it is a nice old house." responded Gabriel.
|
||
|
"Yes -- I suppose so; but I feel like new wine in an
|
||
|
old bottle here. My notion is that sash-windows should
|
||
|
be put throughout, and these old wainscoted walls
|
||
|
brightened up a bit; or the oak cleared quite away, and
|
||
|
the walls papered."
|
||
|
"It would be a pity, I think."
|
||
|
Well, no. A philosopher once said in my hearing
|
||
|
that the old builders, who worked when art was a living
|
||
|
thing, had no respect for the work of builders who went
|
||
|
before them, but pulled down and altered as they
|
||
|
thought fit; and why shouldn't we?"'Creation and
|
||
|
preservation don't do well together." says he, "and a
|
||
|
million of antiquarians can't invent a style." My mind
|
||
|
exactly. I am for making this place more modern, that
|
||
|
we may be cheerful whilst we can."
|
||
|
The military man turned and surveyed the interior
|
||
|
of the room, to assist his ideas of improvement in this
|
||
|
direction. Gabriel and Coggan began to move on.
|
||
|
"Oh, Coggan." said Troy, as if inspired by a recollec-
|
||
|
tion" do you know if insanity has ever appeared in Mr.
|
||
|
Boldwood's family?"
|
||
|
Jan reflected for a moment.
|
||
|
"I once heard that an uncle of his was queer in his
|
||
|
head, but I don't know the rights o't." he said.
|
||
|
"It is of no importance." said Troy, lightly. "Well,
|
||
|
I shall be down in the fields with you some time this
|
||
|
week; but I have a few matters to attend to first. So
|
||
|
good-day to you. We shall, of course, keep on just as
|
||
|
friendly terms as usual. I'm not a proud man: nobody
|
||
|
is ever able to say that of Sergeant Troy. However,
|
||
|
what is must be, and here's half-a-crown to drink my
|
||
|
health, men."
|
||
|
Troy threw the coin dexterously across the front plot
|
||
|
and over the fence towards Gabriel, who shunned it in
|
||
|
its fall, his face turning to an angry red. Coggan
|
||
|
twirled his eye, edged forward, and caught the money
|
||
|
in its ricochet upon the road.
|
||
|
"very well-you keep it, Coggan." said Gabriel with
|
||
|
disdain and almost fiercely. "As for me, I'll do with-
|
||
|
out gifts from him!"
|
||
|
"Don't show it too much." said Coggan, musingly.
|
||
|
"For if he's married to her, mark my words, he'll buy
|
||
|
his discharge and be our master here. Therefore 'tis
|
||
|
well to say `Friend' outwardly, though you say
|
||
|
`Troublehouse' within."
|
||
|
"Well-perhaps it is best to be silent; but I can't
|
||
|
go further than that. I can't flatter, and if my place
|
||
|
here is only to be kept by smoothing him down, my
|
||
|
place must be lost."
|
||
|
A horseman, whom they had for some time seen in
|
||
|
the distance, now appeared close beside them.
|
||
|
"There's Mr. Boldwood." said Oak." I wonder what
|
||
|
Troy meant by his question."
|
||
|
Coggan and Oak nodded respectfully to the farmer,
|
||
|
just checked their paces to discover if they were wanted,
|
||
|
and finding they were not stood back to let him pass on.
|
||
|
The only signs of the terrible sorrow Boldwood had
|
||
|
been combating through the night, and was combating
|
||
|
now, were the want of colour in his well-defined face,
|
||
|
the enlarged appearance of the veins in his forehead
|
||
|
and temples, and the sharper lines about his mouth.
|
||
|
The horse bore him away, and the very step of the
|
||
|
animal seemed significant of dogged despair. Gabriel, for
|
||
|
a minute, rose above his own grief in noticing Boldwood's.
|
||
|
He saw the square figure sitting erect upon the horse,
|
||
|
the head turned to neither side, the elbows steady by
|
||
|
the hips, the brim of the hat level and undisturbed in
|
||
|
its onward glide, until the keen edges of Boldwood's
|
||
|
shape sank by degrees over the hill. To one who knew
|
||
|
the man and his story there was something more striking
|
||
|
in this immobility than in a collapse. The clash of
|
||
|
discord between mood and matter here was forced
|
||
|
painfully home to the heart; and, as in laughter there are
|
||
|
more dreadful phases than in tears, so was there in the
|
||
|
steadiness of this agonized man an expression deeper
|
||
|
than a cry.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXVI
|
||
|
|
||
|
|
||
|
|
||
|
WEALTH IN JEOPARDY -- THE REVEL
|
||
|
|
||
|
|
||
|
ONE night, at the end of August, when Bathsheba's
|
||
|
experiences as a married woman were still new, and
|
||
|
when the weather was yet dry and sultry, a man stood
|
||
|
motionless in the stockyard of Weatherbury Upper
|
||
|
Farm, looking at the moon and sky.
|
||
|
The night had a sinister aspect. A heated breeze
|
||
|
from the south slowly fanned the summits of lofty
|
||
|
objects, and in the sky dashes of buoyant cloud were
|
||
|
sailing in a course at right angles to that of another
|
||
|
stratum, neither of them in the direction of the breeze
|
||
|
below. The moon, as seen through these films, had
|
||
|
a lurid metallic look. The fields were sallow with the
|
||
|
impure light, and all were tinged in monochrome, as
|
||
|
if beheld through stained glass. The same evening
|
||
|
the sheep had trailed homeward head to tail, the
|
||
|
behaviour of the rooks had been confused, and the
|
||
|
horses had moved with timidity and caution.
|
||
|
Thunder was imminent, and, taking some secondary
|
||
|
appearances into consideration, it was likely to be
|
||
|
followed by one of the lengthened rains which mark
|
||
|
the close of dry weather for the season. Before twelve
|
||
|
hours had passed a harvest atmosphere would be a
|
||
|
bygone thing.
|
||
|
Oak gazed with misgiving at eight naked and un-
|
||
|
protected ricks, massive and heavy with the rich
|
||
|
produce of one-half the farm for that year. He went
|
||
|
on to the barn.
|
||
|
This was the night which had been selected by
|
||
|
Sergeant Troy -- ruling now in the room of his wife --
|
||
|
for giving the harvest supper and dance. As Oak
|
||
|
approached the building the sound of violins and a
|
||
|
tambourine, and the regular jigging of many feet, grew
|
||
|
more distinct. He came close to the large doors, one
|
||
|
of which stood slightly ajar, and looked in.
|
||
|
The central space, together with the recess at one
|
||
|
end, was emptied of all incumbrances, and this area,
|
||
|
covering about two-thirds of the whole, was appropriated
|
||
|
for the gathering, the remaining end, which was piled
|
||
|
to the ceiling with oats, being screened off with sail-
|
||
|
cloth. Tufts and garlands of green foliage decorated
|
||
|
the walls, beams, and extemporized chandeliers, and
|
||
|
immediately opposite to Oak a rostrum had been
|
||
|
erected, bearing a table and chairs. Here sat three
|
||
|
fiddlers, and beside them stood a frantic man with his
|
||
|
hair on end, perspiration streaming down his cheeks,
|
||
|
and a tambourine quivering in his hand.
|
||
|
The dance ended, and on the black oak floor in the
|
||
|
midst a new row of couples formed for another.
|
||
|
"Now, ma'am, and no offence I hope, I ask what
|
||
|
dance you would like next?" said the first violin.
|
||
|
"Really, it makes no difference." said the clear voice
|
||
|
of Bathsheba, who stood at the inner end of the build-
|
||
|
ing, observing the scene from behind a table covered
|
||
|
with cups and viands. Troy was lolling beside her.
|
||
|
"Then." said the fiddler, "I'll venture to name that
|
||
|
the right and proper thing is "The Soldier's Joy" --
|
||
|
there being a gallant soldier married into the farm --
|
||
|
hey, my sonnies, and gentlemen all?"
|
||
|
"It shall be "The Soldier's Joy," exclaimed a
|
||
|
chorus.
|
||
|
"Thanks for the compliment." said the sergeant
|
||
|
gaily, taking Bathsheba by the hand and leading her
|
||
|
to the top of the dance. "For though I have pur-
|
||
|
chased my discharge from Her Most Gracious Majesty's
|
||
|
regiment of cavalry the 11th Dragoon Guards, to attend
|
||
|
to the new duties awaiting me here, I shall continue a
|
||
|
soldier in spirit and feeling as long as I live."
|
||
|
So the dance began. As to the merits of "The
|
||
|
Soldier's Joy." there cannot be, and never were, two
|
||
|
opinions. It has been observed in the musical circles
|
||
|
of Weatherbury and its vicinity that this melody, at
|
||
|
the end of three-quarters of an hour of thunderous
|
||
|
footing, still possesses more stimulative properties for
|
||
|
the heel and toe than the majority of other dances at
|
||
|
their first opening. "The Soldier's Joy" has, too, an
|
||
|
additional charm, in being so admirably adapted to
|
||
|
the tambourine aforesaid -- no mean instrument in the
|
||
|
hands of a performer who understands the proper
|
||
|
convulsions, spasms, St. vitus's dances, and fearful
|
||
|
frenzies necessary when exhibiting its tones in their
|
||
|
highest perfection.
|
||
|
The immortal tune ended, a fine DD rolling forth
|
||
|
from the bass-viol with the sonorousness of a cannonade,
|
||
|
and Gabriel delayed his entry no longer. He avoided
|
||
|
Bathsheba, and got as near as possible to the platform,
|
||
|
where Sergeant Troy was now seated, drinking brandy-
|
||
|
and-water, though the others drank without exception
|
||
|
cider and ale. Gabriel could not easily thrust himself
|
||
|
within speaking distance of the sergeant, and he sent
|
||
|
a message, asking him to come down for a moment.
|
||
|
"The sergeant said he could not attend.
|
||
|
"Will you tell him, then." said Gabriel, "that I only
|
||
|
stepped ath'art to say that a heavy rain is sure to fall
|
||
|
soon, and that something should be done to protect
|
||
|
the ricks?"
|
||
|
"M. Troy says it will not rain." returned the
|
||
|
messenger, "and he cannot stop to talk to you about
|
||
|
such fidgets."
|
||
|
In Juxtaposition with Troy, Oak had a melancholy
|
||
|
tendency to look like a candle beside gas, and ill at
|
||
|
ease, he went out again, thinking he would go home;
|
||
|
for, under the circumstances, he had no heart for the
|
||
|
scene in the barn. At the door he paused for a
|
||
|
moment: Troy was speaking.
|
||
|
"Friends, it is not only the harvest home that we
|
||
|
are celebrating to-night; but this is also a Wedding
|
||
|
Feast. A short time ago I had the happiness to lead
|
||
|
to the altar this lady, your mistress, and not until now
|
||
|
have we been able to give any public flourish to the
|
||
|
event in Weatherbury. That it may be thoroughly
|
||
|
well done, and that every man may go happy to bed,
|
||
|
I have ordered to be brought here some bottles of
|
||
|
brandy and kettles of hot water. A treble-strong
|
||
|
goblet will he handed round to each guest."
|
||
|
Bathsheba put her hand upon his arm, and, with
|
||
|
upturned pale face, said imploringly," No -- don't give
|
||
|
it to them -- pray don't, Frank! It will only do them
|
||
|
harm: they have had enough of everything."
|
||
|
"True -- we don't wish for no more, thank ye." said
|
||
|
one or two.
|
||
|
"Pooh!" said the sergeant contemptuously, and
|
||
|
raised his voice as if lighted up by a new idea.
|
||
|
"Friends." he said," we'll send the women-folk home!
|
||
|
'Tis time they were in bed. Then we cockbirds will
|
||
|
have a jolly carouse to ourselves! If any of the men
|
||
|
show the white feather, let them look elsewhere for a
|
||
|
winter's work."
|
||
|
Bathsheba indignantly left the barn, followed by
|
||
|
all the women and children. The musicians, not
|
||
|
looking upon themselves as "company." slipped quietly
|
||
|
away to their spring waggon and put in the horse.
|
||
|
Thus Troy and the men on the farm were left sole
|
||
|
occupants of the place. Oak, not to appear unneces-
|
||
|
sarily disagreeable, stayed a little while; then he, too,
|
||
|
arose and quietly took his departure, followed by a
|
||
|
friendly oath from the sergeant for not staying to a
|
||
|
second round of grog.
|
||
|
Gabriel proceeded towards his home. In approach-
|
||
|
ing the door, his toe kicked something which felt and
|
||
|
sounded soft, leathery, and distended, like a boxing-
|
||
|
glove. It was a large toad humbly travelling across
|
||
|
the path. Oak took it up, thinking it might be better
|
||
|
to kill the creature to save it from pain; but finding
|
||
|
it uninjured, he placed it again among the grass. He
|
||
|
knew what this direct message from the Great Mother
|
||
|
meant. And soon came another.
|
||
|
When he struck a light indoors there appeared upon
|
||
|
the table a thin glistening streak, as if a brush of varnish
|
||
|
had been lightly dragged across it. Oak's eyes followed
|
||
|
the serpentine sheen to the other side, where it led up
|
||
|
to a huge brown garden-slug, which had come indoors
|
||
|
to-night for reasons of its own. It was Nature's second
|
||
|
way of hinting to him that he was to prepare for foul
|
||
|
weather.
|
||
|
Oak sat down meditating for nearly an hour.
|
||
|
During this time two black spiders, of the kind common
|
||
|
in thatched houses, promenaded the ceiling, ultimately
|
||
|
dropping to the floor. This reminded him that if there
|
||
|
was one class of manifestation on this matter that he
|
||
|
thoroughly understood, it was the instincts of sheep.
|
||
|
He left the room, ran across two or three fields towards
|
||
|
the flock, got upon a hedge, and looked over among
|
||
|
them.
|
||
|
They were crowded close together on the other side
|
||
|
around some furze bushes, and the first peculiarity ob-
|
||
|
servable was that, on the sudden appearance of Oak's
|
||
|
head over the fence, they did not stir or run away.
|
||
|
They had now a terror of something greater than their
|
||
|
terror of man. But this was not the most noteworthy
|
||
|
feature: they were all grouped in such a way that their
|
||
|
tails, without a single exception, were towards that half
|
||
|
of the horizon from which the storm threatened. There
|
||
|
was an inner circle closely huddled, and outside these
|
||
|
they radiated wider apart, the pattern formed by the
|
||
|
flock as a whole not being unlike a vandyked lace
|
||
|
collar, to which the clump of furze-bushes stood in the
|
||
|
position of a wearer's neck.
|
||
|
opinion. He knew now that he was right, and that
|
||
|
Troy was wrong. Every voice in nature was unanimous
|
||
|
in bespeaking change. But two distinct translations
|
||
|
attached to these dumb expressions. Apparently there
|
||
|
was to be a thunder-storm, and afterwards a cold con-
|
||
|
tinuous rain. The creeping things seemed to know all
|
||
|
about the later rain, hut little of the interpolated
|
||
|
thunder-storm; whilst the sheep knew all about the
|
||
|
thunder-storm and nothing of the later rain.
|
||
|
This complication of weathers being uncommon,
|
||
|
was all the more to be feared. Oak returned to the
|
||
|
stack-yard. All was silent here, and the conical tips of
|
||
|
the ricks jutted darkly into the sky. There were five
|
||
|
wheat-ricks in this yard, and three stacks of barley.
|
||
|
The wheat when threshed would average about thirty
|
||
|
quarters to each stack; the barley, at least forty. Their
|
||
|
value to Bathsheba, and indeed to anybody, Oak
|
||
|
mentally estimated by the following simple calcula-
|
||
|
tion: --
|
||
|
5 x 30 = 150 quarters= 500 L.
|
||
|
3 x 40=120 quarters= 250 L.
|
||
|
Total . . 750 L.
|
||
|
Seven hundred and fifty pounds in the divinest form
|
||
|
that money can wear -- that of necessary food for man
|
||
|
and beast: should the risk be run of deteriorating this
|
||
|
bulk of corn to less than half its value, because of the
|
||
|
instability of a woman?"Never, if I can prevent it!"
|
||
|
said Gabriel.
|
||
|
Such was the argument that Oak set outwardly before
|
||
|
him. But man, even to himself, is a palimpsest, having
|
||
|
an ostensible writing, and another beneath the lines.
|
||
|
It is possible that there was this golden legend under
|
||
|
the utilitarian one: "I will help to my last effort the
|
||
|
woman I have loved so dearly."
|
||
|
He went back to the barn to endeavour to obtain
|
||
|
assistance for covering the ricks that very night. All
|
||
|
was silent within, and he would have passed on in the
|
||
|
belief that the party had broken up, had not a dim
|
||
|
light, yellow as saffron by contrast with the greenish
|
||
|
whiteness outside, streamed through a knot-hole in the
|
||
|
folding doors.
|
||
|
Gabriel looked in. An unusual picture met his eye.
|
||
|
The candles suspended among the evergreens had
|
||
|
burnt down to their sockets, and in some cases the
|
||
|
leaves tied about them were scorched. Many of the
|
||
|
lights had quite gone out, others smoked and stank,
|
||
|
grease dropping from them upon the floor. Here,
|
||
|
under the table, and leaning against forms and chairs
|
||
|
in every conceivable attitude except the perpendicular,!"
|
||
|
were the wretched persons of all the work-folk, the hair
|
||
|
of their heads at such low levels being suggestive of
|
||
|
mops and brooms. In the midst of these shone red
|
||
|
and distinct the figure of Sergeant Troy, leaning back
|
||
|
in a chair. Coggan was on his back, with his mouth
|
||
|
open, huzzing forth snores, as were several others; the
|
||
|
united breathings of the horizonal assemblage forming
|
||
|
a subdued roar like London from a distance. Joseph
|
||
|
Poorgrass was curled round in the fashion of a hedge-
|
||
|
hog, apparently in attempts to present the least possible
|
||
|
portion of his surface to the air; and behind him was
|
||
|
dimly visible an unimportant remnant of William Small-
|
||
|
bury. The glasses and cups still stood upon the table,
|
||
|
a water-jug being overturned, from which a small rill,
|
||
|
after tracing its course with marvellous precision down
|
||
|
the centre of the long table, fell into the neck of the
|
||
|
unconscious Mark Clark, in a steady, monotonous drip,
|
||
|
like the dripping of a stalactite in a cave.
|
||
|
Gabriel glanced hopelessly at the group, which, with
|
||
|
one or two exceptions, composed all the able-bodied
|
||
|
men upon the farm. He saw at once that if the ricks
|
||
|
were to be saved that night, or even the next morning,
|
||
|
he must save them with his own hands.
|
||
|
A faint "ting-ting" resounded from under Coggan's
|
||
|
waistcoat. It was Coggan's watch striking the hour of
|
||
|
two.
|
||
|
Oak went to the recumbent form of Matthew Moon,
|
||
|
who usually undertook the rough thatching of the home-
|
||
|
stead, and shook him. The shaking was without effect.
|
||
|
Gabriel shouted in his ear, "where's your thatching-
|
||
|
beetle and rick-stick and spars?"
|
||
|
"Under the staddles." said Moon, mechanically, with
|
||
|
the unconscious promptness of a medium.
|
||
|
Gabriel let go his head, and it dropped upon the
|
||
|
floor like a bowl. He then went to Susan Tall's
|
||
|
husband.
|
||
|
"where's the key of the granary?"
|
||
|
No answer. The question was repeated, with the
|
||
|
same result. To be shouted to at night was evidently
|
||
|
less of a novelty to Susan Tall's husband than to
|
||
|
Matthew Moon. Oak flung down Tall's head into the
|
||
|
corner again and turned away.
|
||
|
To be just, the men were not greatly to blame for
|
||
|
this painful and demoralizing termination to the
|
||
|
evening's entertainment. Sergeant Troy had so strenu-
|
||
|
ously insisted, glass in hand, that drinking should be
|
||
|
the bond of their union, that those who wished to refuse
|
||
|
hardly liked to be so unmannerly under the circum-
|
||
|
stances. Having from their youth up been entirely un-
|
||
|
accustomed to any liquor stronger than cider or mild
|
||
|
ale, it was no wonder that they had succumbed, one
|
||
|
and all, with extraordinary uniformity, after the lapse of
|
||
|
about an hour.
|
||
|
Gabriel was greatly depressed. This debauch boded
|
||
|
ill for that wilful and fascinating mistress whom the
|
||
|
faithful man even now felt within him as the embodi-
|
||
|
ment of all that was sweet and bright and hopeless.
|
||
|
He put out the expiring lights, that the barn might
|
||
|
not be endangered, closed the door upon the men in
|
||
|
their deep and oblivious sleep, and went again into the
|
||
|
lone night. A hot breeze, as if breathed from the
|
||
|
parted lips of some dragon about to swallow the globe,
|
||
|
fanned him from the south, while directly opposite in
|
||
|
the north rose a grim misshapen body of cloud, in the
|
||
|
very teeth of the wind. So unnaturally did it rise that
|
||
|
one could fancy it to be lifted by machinery from below.
|
||
|
Meanwhile the faint cloudlets had flown back into the
|
||
|
south-east corner of the sky, as if in terror of the large
|
||
|
cloud, like a young brood gazed in upon by some
|
||
|
monster.
|
||
|
Going on to the village, Oak flung a small stone
|
||
|
against the window of Laban Tall's bedroom, expecting
|
||
|
Susan to open it; but nobody stirred. He went round
|
||
|
to the back door, which had been left unfastened for
|
||
|
Laban's entry, and passed in to the foot of the stair-
|
||
|
case.
|
||
|
"Mrs. Tall, I've come for the key of the granary,
|
||
|
to get at the rick-cloths." said Oak, in a stentorian
|
||
|
voice.
|
||
|
"Is that you?" said Mrs. Susan Tall, half awake.
|
||
|
"Yes." said Gabriel.
|
||
|
"Come along to bed, do, you drawlatching rogue --
|
||
|
keeping a body awake like this ."
|
||
|
"It isn't Laban -- 'tis Gabriel Oak. I want the key
|
||
|
of the granary."
|
||
|
"Gabriel. what in the name of fortune did you
|
||
|
pretend to be Laban for?"
|
||
|
"I didn't. I thought you meant -- -- "
|
||
|
"Yes you did! what do you want here?"
|
||
|
"The key of the granary."
|
||
|
"Take it then. 'Tis on the nail. People coming
|
||
|
disturbing women at this time of night ought -- -- "
|
||
|
Gabriel took the key, without waiting to hear the
|
||
|
conclusion of the tirade. Ten minutes later his lonely
|
||
|
figure might have been seen dragging four large water-
|
||
|
proof coverings across the yard, and soon two of these
|
||
|
heaps of treasure in grain were covered snug -- two cloths
|
||
|
to each. Two hundred pounds were secured. Three
|
||
|
wheat-stacks remained open, and there were no more
|
||
|
cloths. Oak looked under the staddles and found a
|
||
|
fork. He mounted the third pile of wealth and began
|
||
|
operating, adopting the plan of sloping the upper
|
||
|
sheaves one over the other; and, in addition, filling
|
||
|
the interstices with the material of some untied sheaves.
|
||
|
So far all was well. By this hurried contrivance
|
||
|
Bathsheba's property in wheat was safe for at any rate
|
||
|
a week or two, provided always that there was not
|
||
|
much wind.
|
||
|
Next came the barley. This it was only possible to
|
||
|
protect by systematic thatching. Time went on, and
|
||
|
the moon vanished not to reappear. It was the
|
||
|
farewell of the ambassador previous to war. The
|
||
|
night had a haggard look, like a sick thing; and there
|
||
|
came finally an utter expiration of air from the whole
|
||
|
heaven in the form of a slow breeze, which might have
|
||
|
been likened to a death. And now nothing was heard
|
||
|
in the yard but the dull thuds of the beetle which drove
|
||
|
in the spars, and the rustle of thatch in the intervals.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXVII
|
||
|
|
||
|
|
||
|
|
||
|
THE STORM -- THE TWO TOGETHER
|
||
|
|
||
|
|
||
|
A LIGHT flapped over the scene, as if reflected from
|
||
|
phosphorescent wings crossing the sky, and a rumble
|
||
|
filled the air. It was the first move of the approaching
|
||
|
storm.
|
||
|
The second peal was noisy, with comparatively little
|
||
|
visible lightning. Gabriel saw a candle shining in Bath-
|
||
|
sheba's bedroom, and soon a shadow swept to and fro
|
||
|
upon the blind.
|
||
|
Then there came a third flash. Manoeuvres of a
|
||
|
most extraordinary kind were going on in the vast
|
||
|
firmamental hollows overhead. The lightning now was
|
||
|
the colour of silver, and gleamed in the heavens like a
|
||
|
mailed army. Rumbles became rattles. Gabriel from
|
||
|
his elevated position could see over the landscape at
|
||
|
least half-a-dozen miles in front. Every hedge, bush,
|
||
|
and tree was distinct as in a line engraving. In a
|
||
|
paddock in the same direction was a herd of heifers,
|
||
|
and the forms of these were visible at this moment in
|
||
|
the act of galloping about in the wildest and maddest
|
||
|
confusion, flinging their heels and tails high into the air,
|
||
|
their heads to earth. A poplar in the immediate fore-
|
||
|
ground was like an ink stroke on burnished tin. Then
|
||
|
the picture vanished, leaving the darkness so intense
|
||
|
that Gabriel worked entirely by feeling with his hands.
|
||
|
He had stuck his ricking-rod, or poniard, as it was
|
||
|
indifferently called -- a long iron lance, polished by
|
||
|
handling -- into the stack, used to support the sheaves
|
||
|
instead of the support called a groom used on houses,
|
||
|
A blue light appeared in the zenith, and in some in-
|
||
|
describable manner flickered down near the top of the
|
||
|
rod. It was the fourth of the larger flashes. A moment
|
||
|
later and there was a smack -- smart, clear, and short,
|
||
|
Gabriel felt his position to be anything but a safe one,
|
||
|
and he resolved to descend.
|
||
|
Not a drop of rain had fallen as yet. He wiped his
|
||
|
weary brow, and looked again at the black forms of
|
||
|
the unprotected stacks. Was his life so valuable to
|
||
|
him after all? What were his prospects that he
|
||
|
should be so chary of running risk, when important
|
||
|
and urgent labour could not be carried on without
|
||
|
such risk? He resolved to stick to the stack. How-
|
||
|
ever, he took a precaution. Under the staddles was
|
||
|
a long tethering chain, used to prevent the escape of
|
||
|
errant horses. This he carried up the ladder, and
|
||
|
sticking his rod through the clog at one end, allowed
|
||
|
the other end of the chain to trail upon the ground
|
||
|
The spike attached to it he drove in. Under the
|
||
|
shadow of this extemporized lightning-conductor he
|
||
|
felt himself comparatively safe.
|
||
|
Before Oak had laid his hands upon his tools again
|
||
|
out leapt the fifth flash, with the spring of a serpent
|
||
|
and the shout of a fiend. It was green as an
|
||
|
emerald, and the reverberation was stunning. What
|
||
|
was this the light revealed to him? In the open
|
||
|
ground before him, as he looked over the ridge of
|
||
|
the rick, was a dark and apparently female form.
|
||
|
Could it be that of the only venturesome woman in
|
||
|
the parish -- Bathsheba? The form moved on a step:
|
||
|
then he could see no more.
|
||
|
"Is that you, ma'am?" said Gabriel to the darkness.
|
||
|
"Who is there?" said the voice of Bathsheba,
|
||
|
"Gabriel. I am on the rick, thatching."
|
||
|
"O, Gabriel! -- and are you? I have come about
|
||
|
them. The weather awoke me, and I thought of the
|
||
|
corn. I am so distressed about it -- can we save it any-
|
||
|
how? I cannot find my husband. Is he with you?"
|
||
|
He is not here."
|
||
|
"Do you know where he is?"
|
||
|
"Asleep in the barn."
|
||
|
"He promised that the stacks should be seen to,
|
||
|
and now they are all neglected! Can I do anything
|
||
|
to help? Liddy is afraid to come out. Fancy finding
|
||
|
you here at such an hour! Surely I can do something?"
|
||
|
"You can bring up some reed-sheaves to me, one by
|
||
|
one, ma'am; if you are not afraid to come up the ladder
|
||
|
in the dark." said Gabriel. "Every moment is precious
|
||
|
now, and that would save a good deal of time. It is
|
||
|
not very dark when the lightning has been gone a bit."
|
||
|
"I'll do anything!" she said, resolutely. She instantly
|
||
|
took a sheaf upon her shoulder, clambered up close to
|
||
|
his heels, placed it behind the rod, and descended for
|
||
|
another. At her third ascent the rick suddenly brightened
|
||
|
with the brazen glare of shining majolica -- every knot
|
||
|
in every straw was visible. On the slope in front of him
|
||
|
appeared two human shapes, black as jet. The rick
|
||
|
lost its sheen -- the shapes vanished. Gabriel turned his
|
||
|
head. It had been the sixth flash which had come from
|
||
|
the east behind him, and the two dark forms on the
|
||
|
slope had been the shadows of himself and Bathsheba.
|
||
|
Then came the peal. It hardly was credible that
|
||
|
such a heavenly light could be the parent of such a
|
||
|
diabolical sound.
|
||
|
"How terrible!" she exclaimed, and clutched him by
|
||
|
the sleeve. Gabriel turned, and steadied her on her
|
||
|
aerial perch by holding her arm. At the same moment,
|
||
|
while he was still reversed in his attitude, there was
|
||
|
more light, and he saw, as it were, a copy of the tall
|
||
|
poplar tree on the hill drawn in black on the wall of
|
||
|
the barn. It was the shadow of that tree, thrown across
|
||
|
by a secondary flash in the west.
|
||
|
The next flare came. Bathsheba was on the ground
|
||
|
now, shouldering another sheaf, and she bore its dazzle
|
||
|
without flinching -- thunder and ali-and again ascended
|
||
|
with the load. There was then a silence everywhere
|
||
|
for four or five minutes, and the crunch of the spars,
|
||
|
as Gabriel hastily drove them in, could again be distinctly
|
||
|
heard. He thought the crisis of the storm had passed.
|
||
|
But there came a burst of light.
|
||
|
"Hold on!" said Gabriel, taking the sheaf from her
|
||
|
shoulder, and grasping her arm again.
|
||
|
Heaven opened then, indeed. The flash was almost
|
||
|
too novel for its inexpressibly dangerous nature to be
|
||
|
at once realized, and they could only comprehend the
|
||
|
magnificence of its beauty. It sprang from east, west,
|
||
|
north, south, and was a perfect dance of death. The
|
||
|
forms of skeletons appeared in the air, shaped with
|
||
|
blue fire for bones -- dancing, leaping, striding, racing
|
||
|
around, and mingling altogether in unparalleled con-
|
||
|
fusion. With these were intertwined undulating snakes of
|
||
|
green, and behind these was a broad mass of lesser light.
|
||
|
Simultaneously came from every part of the tumbling
|
||
|
sky what may be called a shout; since, though no shout
|
||
|
ever came near it, it was more of the nature of a shout
|
||
|
than of anything else earthly. In the meantime one of
|
||
|
the grisly forms had alighted upon the point of Gabriel's
|
||
|
rod, to run invisibly down it, down the chain, and into
|
||
|
the earth. Gabriel was almost blinded, and he could
|
||
|
feel Bathsheba's warm arm tremble in his hand -- a
|
||
|
sensation novel and thrilling enough; but love, life,
|
||
|
everything human, seemed small and trifling in such
|
||
|
close juxtaposition with an infuriated universe.
|
||
|
Oak had hardly time to gather up these impressions
|
||
|
into a thought, and to see how strangely the red feather
|
||
|
of her hat shone in this light, when the tall tree on the
|
||
|
hill before mentioned seemed on fire to a white heat,
|
||
|
and a new one among these terrible voices mingled with
|
||
|
the last crash of those preceding. It was a stupefying
|
||
|
blast, harsh and pitiless, and it fell upon their ears in a
|
||
|
dead, flat blow, without that reverberation which lends
|
||
|
the tones of a drum to more distant thunder. By the
|
||
|
lustre reflected from every part of the earth and from the
|
||
|
wide domical scoop above it, he saw that the tree was
|
||
|
sliced down the whole length of its tall, straight stem, a
|
||
|
huge riband of bark being apparently flung off. The
|
||
|
other portion remained erect, and revealed the bared
|
||
|
surface as a strip of white down the front. The
|
||
|
lightning had struck the tree. A sulphurous smell
|
||
|
filled the air; then all was silent, and black as a cave
|
||
|
in Hinnom.
|
||
|
"We had a narrow escape!" said Gabriel, hurriedly.
|
||
|
"You had better go down."
|
||
|
Bathsheba said nothing; but he could distinctly hear
|
||
|
her rhythmical pants, and the recurrent rustle of the
|
||
|
sheaf beside her in response to her frightened pulsations.
|
||
|
She descended the ladder, and, on second thoughts, he
|
||
|
followed her. The darkness was now impenetrable by
|
||
|
the sharpest vision. They both stood still at the
|
||
|
bottom, side by side. Bathsheba appeared to think
|
||
|
only of the weather -- Oak thought only of her just then.
|
||
|
At last he said --
|
||
|
"The storm seems to have passed now, at any
|
||
|
rate."
|
||
|
"I think so too." said Bathsheba. "Though there
|
||
|
are multitudes of gleams, look!"
|
||
|
The sky was now filled with an incessant light,
|
||
|
frequent repetition melting into complete continuity, as
|
||
|
an unbroken sound results from the successive strokes
|
||
|
on a gong.
|
||
|
"Nothing serious." said he. "I cannot understand
|
||
|
no rain falling. But Heaven be praised, it is all the
|
||
|
better for us. I am now going up again."
|
||
|
"Gabriel, you are kinder than I deserve! I will stay
|
||
|
and help you yet. O, why are not some of the others
|
||
|
here!"
|
||
|
"They would have been here if they could." said Oak,
|
||
|
in a hesitating way.
|
||
|
"O, I know it all -- all." she said, adding slowly:
|
||
|
"They are all asleep in the barn, in a drunken sleep, and
|
||
|
my husband among them. That's it, is it not? Don't
|
||
|
think I am a timid woman and can't endure things."
|
||
|
"I am not certain." said Gabriel. "I will go and see,"
|
||
|
He crossed to the barn, leaving her there alone. He
|
||
|
looked through the chinks of the door. All was in
|
||
|
total darkness, as he had left it, and there still arose, as
|
||
|
at the former time, the steady buzz of many snores.
|
||
|
He felt a zephyr curling about his cheek, and turned.
|
||
|
It was Bathsheba's breath -- she had followed him, and
|
||
|
was looking into the same chink.
|
||
|
He endeavoured to put off the immediate and pain-
|
||
|
ful subject of their thoughts by remarking gently, "If
|
||
|
you'll come back again, miss -- ma'am, and hand up a
|
||
|
few more; it would save much time."
|
||
|
Then Oak went back again, ascended to the top,
|
||
|
stepped off the ladder for greater expedition, and went
|
||
|
on thatching. She followed, but without a sheaf
|
||
|
"Gabriel." she said, in a strange and impressive voice.
|
||
|
Oak looked up at her. She had not spoken since
|
||
|
he left the barn. The soft and continual shimmer of
|
||
|
the dying lightning showed a marble face high against
|
||
|
the black sky of the opposite quarter. Bathsheba was
|
||
|
sitting almost on the apex of the stack, her feet gathered
|
||
|
up beneath her, and resting on the top round of the
|
||
|
ladder.
|
||
|
"Yes, mistress." he said.
|
||
|
"I suppose you thought that when I galloped away
|
||
|
to Bath that night it was on purpose to be married?"
|
||
|
"I did at last -- not at first." he answered, somewhat
|
||
|
surprised at the abruptness with which this new subject
|
||
|
was broached.
|
||
|
"And others thought so, too?"
|
||
|
"Yes."
|
||
|
"And you blamed me for it?"
|
||
|
"Well-a little."
|
||
|
"I thought so. Now, I care a little for your good
|
||
|
opinion, and I want to explain something-i have
|
||
|
longed to do it ever since I returned, and you looked so
|
||
|
gravely at me. For if I were to die -- and I may die
|
||
|
soon -- it would be dreadful that you should always think
|
||
|
mistakenly of me. Now, listen."
|
||
|
Gabriel ceased his rustling.
|
||
|
"I went to Bath that night in the full intention of
|
||
|
breaking off my engagement to Mr. Troy. It was owing
|
||
|
to circumstances which occurred after I got there that
|
||
|
-- that we were married. Now, do you see the matter
|
||
|
in a new light?"
|
||
|
"I do -- somewhat."
|
||
|
"I must, I suppose, say more, now that I have
|
||
|
begun. And perhaps it's no harm, for you are certainly
|
||
|
under no delusion that I ever loved you, or that I can
|
||
|
have any object in speaking, more than that object I
|
||
|
have mentioned. Well, I was alone in a strange city,
|
||
|
and the horse was lame. And at last I didn't know
|
||
|
what to do. I saw, when it was too late, that scandal
|
||
|
might seize hold of me for meeting him alone in that
|
||
|
way. But I was coming away, when he suddenly said
|
||
|
he had that day seen a woman more beautiful than I,
|
||
|
and that his constancy could not be counted on unless
|
||
|
I at once became his.... And I was grieved and
|
||
|
troubled -- --" She cleared her voice, and waited a
|
||
|
moment, as if to gather breath. "And then, between
|
||
|
jealousy and distraction, I married him!" she whispered
|
||
|
with desperate impetuosity.
|
||
|
Gabriel made no reply.
|
||
|
"He was not to blame, for it was perfectly true about
|
||
|
-- about his seeing somebody else." she quickly added.
|
||
|
"And now I don't wish for a single remark from you
|
||
|
upon the subject -- indeed, I forbid it. I only wanted
|
||
|
you to know that misunderstood bit of my history before
|
||
|
a time comes when you could never know it. -- You want
|
||
|
some more sheaves?"
|
||
|
She went down the ladder, and the work proceeded.
|
||
|
Gabriel soon perceived a languor in the movements of
|
||
|
his mistress up and down, and he said to her, gently as
|
||
|
a mother --
|
||
|
"I think you had better go indoors now, you are
|
||
|
tired. I can finish the rest alone. If the wind does
|
||
|
not change the rain is likely to keep off."
|
||
|
"If I am useless I will go." said Bathsheba, in a
|
||
|
flagging cadence. "But O, if your life should be lost!"
|
||
|
"You are not useless; but I would rather not tire
|
||
|
you longer. You have done well."
|
||
|
"And you better!" she said, gratefully.! Thank you
|
||
|
for your devotion, a thousand times, Gabriel! Good-
|
||
|
night-i know you are doing your very best for me."
|
||
|
She diminished in the gloom, and vanished, and he
|
||
|
heard the latch of the gate fall as she passed through.
|
||
|
He worked in a reverie now, musing upon her story, and
|
||
|
upon the contradictoriness of that feminine heart which
|
||
|
had caused her to speak more warmly to him to-night
|
||
|
than she ever had done whilst unmarried and free to
|
||
|
speak as warmly as she chose.
|
||
|
He was disturbed in his meditation by a grating
|
||
|
noise from the coach-house. It was the vane on the
|
||
|
roof turning round, and this change in the wind was the
|
||
|
signal for a disastrous rain.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXVIII
|
||
|
|
||
|
|
||
|
|
||
|
RAIN -- ONE SOLITARY MEETS ANOTHER
|
||
|
|
||
|
|
||
|
IT was now five o'clock, and the dawn was promising
|
||
|
to break in hues of drab and ash.
|
||
|
The air changed its temperature and stirred itself
|
||
|
more vigorously. Cool breezes coursed in transparent
|
||
|
eddies round Oak's face. The wind shifted yet a point
|
||
|
or two and blew stronger. In ten minutes every wind
|
||
|
of heaven seemed to be roaming at large. Some of the
|
||
|
thatching on the wheat-stacks was now whirled fantas-
|
||
|
tically aloft, and had to be replaced and weighted with
|
||
|
some rails that lay near at hand. This done, Oak slaved
|
||
|
away again at the barley. A huge drop of rain smote
|
||
|
his face, the wind snarled round every corner, the trees
|
||
|
rocked to the bases of their trunks, and the twigs clashed
|
||
|
in strife. Driving in spars at any point and on any
|
||
|
system, inch by inch he covered more and more safely
|
||
|
from ruin this distracting impersonation of seven hundred
|
||
|
pounds. "The rain came on in earnest, and Oak soon felt
|
||
|
the water to be tracking cold and clammy routes down
|
||
|
his back. Ultimately he was reduced well-nigh to a
|
||
|
homogeneous sop, and the dyes of his clothes trickled
|
||
|
down and stood in a pool at the foot of the ladder.
|
||
|
The rain stretched obliquely through the dull atmo-
|
||
|
sphere in liquid spines, unbroken in continuity between
|
||
|
their beginnings in the clouds and their points in him.
|
||
|
Oak suddenly remembered that eight months before
|
||
|
this time he had been fighting against fire in the same
|
||
|
spot as desperately as he was fighting against water
|
||
|
now -- and for a futile love of the same woman. As for
|
||
|
her -- -- But Oak was generous and true, and dis-
|
||
|
missed his reflections.
|
||
|
It was about seven o'clock in the dark leaden
|
||
|
morning when Gabriel came down from the last stack,
|
||
|
and thankfully exclaimed, "It is done!" He was
|
||
|
drenched, weary, and sad, and yet not so sad as drenched
|
||
|
and weary, for he was cheered by a sense of success in
|
||
|
a good cause.
|
||
|
Faint sounds came from the barn, and he looked
|
||
|
that way. Figures stepped singly and in pairs through
|
||
|
the doors -- all walking awkwardly, and abashed, save
|
||
|
the foremost, who wore a red jacket, and advanced
|
||
|
with his hands in his pockets, whistling. The others
|
||
|
shambled after with a conscience-stricken air: the whole
|
||
|
procession was not unlike Flaxman's group of the suitors
|
||
|
tottering on towards the infernal regions under the
|
||
|
conduct of Mercury. The gnarled shapes passed into
|
||
|
the village, Troy, their leader, entering the farmhouse.
|
||
|
Not a single one of them had turned his face to the
|
||
|
ricks, or apparently bestowed one thought upon their
|
||
|
condition.
|
||
|
Soon Oak too went homeward, by a different route
|
||
|
from theirs. In front of him against the wet glazed
|
||
|
surface of the lane he saw a person walking yet more
|
||
|
slowly than himself under an umbrella. The man
|
||
|
turned and plainly started; he was Boldwood.
|
||
|
"How are you this morning, sir?" said Oak.
|
||
|
"Yes, it is a wet day. -- Oh, I am well, very well, I
|
||
|
thank you; quite well."
|
||
|
"I am glad to hear it, sir."
|
||
|
Boldwood seemed to awake to the present by degrees.
|
||
|
"You look tired and ill, Oak." he said then, desultorily
|
||
|
regarding his companion.
|
||
|
"I am tired. You look strangely altered, sir."
|
||
|
"I? Not a bit of it: I am well enough. What put
|
||
|
that into your head?"
|
||
|
"I thought you didn't look quite so topping as you
|
||
|
used to, that was all."
|
||
|
"Indeed, then you are mistaken." said Boldwood,
|
||
|
shortly. "Nothing hurts me. My constitution is an
|
||
|
iron one."
|
||
|
"I've been working hard to get our ricks covered,
|
||
|
and was barely in time. Never had such a struggle in
|
||
|
my life.... Yours of course are safe, sir."
|
||
|
"O yes." Boldwood added, after an interval of
|
||
|
silence: " What did you ask, Oak?"
|
||
|
"Your ricks are all covered before this time?"
|
||
|
"No."
|
||
|
"At any rate, the large ones upon the stone staddles?"
|
||
|
"They are not."
|
||
|
"Them under the hedge?"
|
||
|
"No. I forgot to tell the thatcher to set about it."
|
||
|
"Nor the little one by the stile?"Nor the little one by the stile. I
|
||
|
overlooked the
|
||
|
ricks this year."
|
||
|
"Then not a tenth of your corn will come to measure,
|
||
|
sir."
|
||
|
"Possibly not.
|
||
|
"Overlooked them." repeated Gabriel slowly to him-
|
||
|
self. It is difficult to describe the intensely dramatic
|
||
|
effect that announcement had upon Oak at such a
|
||
|
moment. All the night he had been feeling that the
|
||
|
neglect he was labouring to repair was abnormal and
|
||
|
isolated -- the only instance of the kind within the circuit
|
||
|
of the county. Yet at this very time, within the same
|
||
|
parish, a greater waste had been going on, uncomplained
|
||
|
of and disregarded. A few months earlier Boldwood's
|
||
|
forgetting his husbandry would have been as preposter-
|
||
|
ous an idea as a sailor forgetting he was in a ship. Oak
|
||
|
was just thinking that whatever he himself might have
|
||
|
suffered from Bathsheba's marriage, here was a man
|
||
|
who had suffered more, when Boldwood spoke in a
|
||
|
changed voice -- that of one who yearned to make a
|
||
|
confidence and relieve his heart by an outpouring.
|
||
|
"Oak, you know as well as I that things have gone
|
||
|
wrong with me lately. I may as well own it. I was
|
||
|
going to get a little settled in life; but in some way my
|
||
|
plan has come to nothing."
|
||
|
"I thought my mistress would have married you,"
|
||
|
said Gabriel, not knowing enough of the full depths of
|
||
|
Boldwood's love to keep silence on the farmer's account,
|
||
|
and determined not to evade discipline by doing so on
|
||
|
his own. "However, it is so sometimes, and nothing
|
||
|
happens that we expect." he added, with the repose of
|
||
|
a man whom misfortune had inured rather than sub-
|
||
|
dued.
|
||
|
"I daresay I am a joke about the parish." said Bold-
|
||
|
wood, as if the subject came irresistibly to his tongue,
|
||
|
and with a miserable lightness meant to express his
|
||
|
indifference.
|
||
|
"O no -- I don't think that."
|
||
|
-- But the real truth of the matter is that there was
|
||
|
not, as some fancy, any jilting on -- her part. No
|
||
|
engagement ever existed between me and Miss Ever-
|
||
|
dene. People say so, but it is untrue: she never
|
||
|
promised me!" Boldwood stood still now and turned
|
||
|
his wild face to Oak. "O, Gabriel." he continued, "I
|
||
|
am weak and foolish, and I don't know what, and I
|
||
|
can't fend off my miserable grief! ... I had some faint
|
||
|
belief in the mercy of God till I lost that woman. Yes,
|
||
|
He prepared a gourd to shade me, and like the prophet
|
||
|
I thanked Him and was glad. But the next day He
|
||
|
prepared a worm to smite the gourd and wither it; and
|
||
|
I feel it is better to die than to live!"
|
||
|
A silence followed. Boldwood aroused himself from
|
||
|
the momentary mood of confidence into which he had
|
||
|
drifted, and walked on again, resuming his usual reserve,
|
||
|
"No, Gabriel." he resumed, with a carelessness which
|
||
|
was like the smile on the countenance of a skull: "it
|
||
|
was made more of by other people than ever it was by
|
||
|
us. I do feel a little regret occasionally, but no woman
|
||
|
ever had power over me for any length of time. Well,
|
||
|
good morning; I can trust you not to mention to others
|
||
|
what has passed between us two here."
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XXXIX
|
||
|
|
||
|
|
||
|
|
||
|
COMING HOME -- A CRY
|
||
|
|
||
|
|
||
|
ON the turnpike road, between Casterbridge and
|
||
|
Weatherbury, and about three miles from the former
|
||
|
which pervade the highways of this undulating part of
|
||
|
South Wessex. I returning from market it is usual
|
||
|
for the farmers and other gig-gentry to alight at the
|
||
|
bottom and walk up.
|
||
|
One Saturday evening in the month of October
|
||
|
Bathsheba's vehicle was duly creeping up this incline.
|
||
|
She was sitting listlessly in the second seat of the gig,
|
||
|
whilst walking beside her in farmer's marketing suit
|
||
|
of unusually fashionable cut was an erect, well-made
|
||
|
young man. Though on foot, he held the reins and
|
||
|
whip, and occasionally aimed light cuts at the horse's
|
||
|
ear with the end of the lash, as a recreation. This
|
||
|
man was her husband, formerly Sergeant Troy, who,
|
||
|
having bought his discharge with Bathsheba's money,
|
||
|
was gradually transforming himself into a farmer of a
|
||
|
spirited and very modern school. People of unalter-
|
||
|
able ideas still insisted upon calling him "Sergeant"
|
||
|
hen they met him, which was in some degree owing
|
||
|
to his having still retained the well-shaped moustache
|
||
|
of his military days, and the soldierly bearing insepar-
|
||
|
able from his form and training.
|
||
|
"Yes, if it hadn't been for that wretched rain I
|
||
|
should have cleared two hundred as easy as looking,
|
||
|
my love." he was saying. "Don't you see, it altered
|
||
|
all the chances? To speak like a book I once read,
|
||
|
wet weather is the narrative, and fine days are the
|
||
|
episodes, of our country's history; now, isn't that
|
||
|
true?"
|
||
|
"But the time of year is come for changeable weather."
|
||
|
"Well, yes. The fact is, these autumn races are the
|
||
|
ruin of everybody. Never did I see such a day as 'twas!
|
||
|
'Tis a wild open place, just out of Budmouth, and a
|
||
|
drab sea rolled in towards us like liquid misery. Wind
|
||
|
and rain -- good Lord! Dark? Why, 'twas as black
|
||
|
as my hat before the last race was run. 'Twas five
|
||
|
o'clock, and you couldn't see the horses till they were
|
||
|
almost in, leave alone colours. The ground was as
|
||
|
heavy as lead, and all judgment from a fellow's experi-
|
||
|
ence went for nothing. Horses, riders, people, were
|
||
|
all blown about like ships at sea. Three booths were
|
||
|
blown over, and the wretched folk inside crawled out
|
||
|
upon their hands and knees; and in the next field
|
||
|
were as many as a dozen hats at one time. Aye,
|
||
|
Pimpernel regularly stuck fast, when about sixty yards
|
||
|
off, and when I saw Policy stepping on, it did knock
|
||
|
my heart against the lining of my ribs, I assure you,
|
||
|
my love!"
|
||
|
"And you mean, Frank." said Bathsheba, sadly --
|
||
|
her voice was painfully lowered from the fulness and
|
||
|
vivacity of the previous summer -- "that you have lost
|
||
|
more than a hundred pounds in a month by this
|
||
|
dreadful horse-racing? O, Frank, it is cruel; it is
|
||
|
foolish of you to take away my money so. We shall
|
||
|
have to leave the farm; that will be the end of it!"
|
||
|
"Humbug about cruel. Now, there 'tis again --
|
||
|
turn on the waterworks; that's just like you."
|
||
|
"But you'll promise me not to go to Budmouth
|
||
|
second meeting, won't you?" she implored. Bathsheba
|
||
|
was at the full depth for tears, but she maintained a
|
||
|
dry eye.
|
||
|
"I don't see why I should; in fact, if it turns out to
|
||
|
be a fine day, I was thinking of taking you."
|
||
|
"Never, never! I'll go a hundred miles the other
|
||
|
way first. I hate the sound of the very word!"
|
||
|
"But the question of going to see the race or staying
|
||
|
at home has very little to do with the matter. Bets are
|
||
|
all booked safely enough before the race begins, you
|
||
|
may depend. Whether it is a bad race for me or a
|
||
|
good one, will have very little to do with our going
|
||
|
there next Monday."
|
||
|
"But you don't mean to say that you have risked
|
||
|
anything on this one too!" she exclaimed, with an
|
||
|
agonized look.
|
||
|
"There now, don't you be a little fool. Wait till you
|
||
|
are told. Why, Bathsheba, you have lost all the pluck
|
||
|
and sauciness you formerly had, and upon my life if I
|
||
|
had known what a chicken-hearted creature you were
|
||
|
under all your boldness, I'd never have-i know what."
|
||
|
A flash of indignation might have been seen in
|
||
|
Bathsheba's dark eyes as she looked resolutely ahead
|
||
|
after this reply. They moved on without further
|
||
|
speech, some early-withered leaves from the trees which
|
||
|
hooded the road at this spot occasionally spinning
|
||
|
downward across their path to the earth.
|
||
|
A woman appeared on the brow of the hill. The
|
||
|
ridge was in a cutting, so that she was very near the
|
||
|
husband and wife before she became visible. Troy had
|
||
|
turned towards the gig to remount, and whilst putting
|
||
|
his foot on the step-the woman passed behind him.
|
||
|
Though the overshadowing trees and the approach
|
||
|
of eventide enveloped them in gloom, Bathsheba could
|
||
|
see plainly enough to discern the extreme poverty of
|
||
|
the woman's garb, and the sadness of her face.
|
||
|
"Please, sir, do you know at what time Casterbridge
|
||
|
Union-house closes at night?"
|
||
|
The woman said these words to Troy over his
|
||
|
shoulder.
|
||
|
Troy started visibly at the sound of the voice; yet
|
||
|
he seemed to recover presence of mind sufficient to
|
||
|
prevent himself from giving way to his impulse to
|
||
|
suddenly turn and face her. He said, slowly --
|
||
|
"I don't know."
|
||
|
The woman, on hearing him speak, quickly looked
|
||
|
up, examined the side of his face, and recognized the
|
||
|
soldier under the yeoman's garb. Her face was drawn
|
||
|
into an expression which had gladness and agony both
|
||
|
among its elements. She uttered an hysterical cry,
|
||
|
and fell down.
|
||
|
"O, poor thing!" exclaimed Bathsheba, instantly
|
||
|
preparing to alight.
|
||
|
"Stay where you are, and attend to the horse!"
|
||
|
said Troy, peremptorily throwing her the reins and
|
||
|
the whip. "Walk the horse to the top: I'll see to
|
||
|
the woman."
|
||
|
"But I -- "
|
||
|
"Do you hear? Clk -- Poppet!"
|
||
|
The horse, gig, and Bathsheba moved on.
|
||
|
"How on earth did you come here? I thought
|
||
|
you were miles away, or dead! Why didn't you
|
||
|
write to me?" said Troy to the woman, in a strangely
|
||
|
gentle, yet hurried voice, as he lifted her up.
|
||
|
"I feared to."
|
||
|
"Have you any money?"
|
||
|
"None."
|
||
|
"Good Heaven -- I wish I had more to give you!
|
||
|
Here's -- wretched -- the merest trifle. It is every
|
||
|
farthing I have left. I have none but what my wife
|
||
|
gives me, you know, and I can't ask her now."
|
||
|
he woman made no answer.
|
||
|
"I have only another moment." continued Troy;
|
||
|
"and now listen. Where are you going to-night?
|
||
|
Casterbridge Union?"
|
||
|
"Yes; I thought to go there."
|
||
|
"You shan't go there; yet, wait. Yes, perhaps for
|
||
|
to-night; I can do nothing better -- worse luck! Sleep
|
||
|
there to-night, and stay there to-morrow. Monday is
|
||
|
the first free day I have; and on Monday morning,
|
||
|
at ten exactly, meet me on Grey's Bridge just out of the
|
||
|
town. I'll bring all the money I can muster. You
|
||
|
shan't want-i'll see that, Fanny; then I'll get you a
|
||
|
lodging somewhere. Good-bye till then. I am a brute
|
||
|
-- but good-bye!"
|
||
|
After advancing the distance which completed the
|
||
|
ascent of the hill, Bathsheba turned her head. The
|
||
|
woman was upon her feet, and Bathsheba saw her
|
||
|
withdrawing from Troy, and going feebly down the
|
||
|
hill by the third milestone from Casterbridge. Troy
|
||
|
then came on towards his wife, stepped into the gig,
|
||
|
took the reins from her hand, and without making any
|
||
|
observation whipped the horse into a trot. He was
|
||
|
rather agitated.
|
||
|
"Do you know who that woman was?" said Bath-
|
||
|
sheba, looking searchingly into his face.
|
||
|
"I do." he said, looking boldly back into hers.
|
||
|
"I thought you did." said she, with angry hauteur,
|
||
|
and still regarding him. "Who is she?"
|
||
|
He suddenly seemed to think that frankness would
|
||
|
benefit neither of the women.
|
||
|
"Nothing to either of us." he said. "I know her
|
||
|
by sight."
|
||
|
"What is her name?"
|
||
|
"How should I know her name?"
|
||
|
"I think you do."
|
||
|
"Think if you will, and be -- -- " The sentence was
|
||
|
completed by a smart cut of the whip round Poppet's
|
||
|
flank, which caused the animal to start forward at a
|
||
|
wild pace. No more was said.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XL
|
||
|
|
||
|
|
||
|
|
||
|
ON CASTERBRIDGE HIGHWAY
|
||
|
|
||
|
|
||
|
FOR a considerable time the woman walked on. Her
|
||
|
steps became feebler, and she strained her eyes to look
|
||
|
afar upon the naked road, now indistinct amid the
|
||
|
penumbrae of night. At length her onward walk
|
||
|
dwindled to the merest totter, and she opened a gate
|
||
|
within which was a haystack. Underneath this she sat
|
||
|
down and presently slept.
|
||
|
When the woman awoke it was to find herself in the
|
||
|
depths of a moonless and starless night. A heavy un-
|
||
|
broken crust of cloud stretched across the sky, shutting
|
||
|
out every speck of heaven; and a distant halo which
|
||
|
hung over the town of Casterbridge was visible against
|
||
|
the black concave, the luminosity appearing the
|
||
|
brighter by its great contrast with the circumscribing
|
||
|
darkness. Towards this weak, soft glow the woman
|
||
|
turned her eyes.
|
||
|
"If I could only get there!" she said. "Meet him
|
||
|
the day after to-morrow: God help me! Perhaps I
|
||
|
shall be in my grave before then."
|
||
|
A manor-house clock from the far depths of shadow
|
||
|
struck the hour, one, in a small, attenuated tone. After
|
||
|
midnight the voice of a clock seems to lose in breadth
|
||
|
as much as in length, and to diminish its sonorousness
|
||
|
to a thin falsetto.
|
||
|
Afterwards a light -- two lights -- arose from the re-
|
||
|
mote shade, and grew larger. A carriage rolled along
|
||
|
the toad, and passed the gate. It probably contained
|
||
|
some late diners-out. The beams from one lamp shone
|
||
|
for a moment upon the crouching woman, and threw
|
||
|
her face into vivid relieff. The face was young in the
|
||
|
groundwork, old in the finish; the general contours
|
||
|
were flexuous and childlike, but the finer lineaments
|
||
|
had begun to be sharp and thin.
|
||
|
The pedestrian stood up, apparently with revived
|
||
|
determination, and looked around. The road appeared
|
||
|
to be familiar to her, and she carefully scanned the fence
|
||
|
as she slowly walked along. Presently there became
|
||
|
visible a dim white shape; it was another milestone.
|
||
|
She drew her fingers across its face to feel the marks.
|
||
|
"Two more!" she said.
|
||
|
She leant against the stone as a means of rest for a
|
||
|
short interval, then bestirred herself, and again pursued
|
||
|
her way. For a slight distance she bore up bravely,
|
||
|
afterwards flagging as before. This was beside a lone
|
||
|
copsewood, wherein heaps of white chips strewn upon
|
||
|
the leafy ground showed that woodmen had been
|
||
|
faggoting and making hurdles during the day. Now
|
||
|
there was not a rustle, not a breeze, not the faintest
|
||
|
clash of twigs to keep her company. The woman
|
||
|
looked over the gate, opened it, and went in. Close
|
||
|
to the entrance stood a row of faggots, bound and un-
|
||
|
bound, together with stakes of all sizes.
|
||
|
For a few seconds the wayfarer stood with that tense
|
||
|
stillness which signifies itself to be not the end but
|
||
|
merely the suspension, of a previous motion. Her
|
||
|
attitude was that of a person who listens, either to the
|
||
|
external world of sound, or to the imagined discourse of
|
||
|
thought. A close criticism might have detected signs
|
||
|
proving that she was intent on the latter alternative.
|
||
|
Moreover, as was shown by what followed, she was
|
||
|
oddly exercising the faculty of invention upon the spe-
|
||
|
ciality of the clever Jacquet Droz, the designer of auto-
|
||
|
matic substitutes for human limbs.
|
||
|
By the aid of the Casterbridge aurora, and by feeling
|
||
|
with her hands, the woman selected two sticks from the
|
||
|
heaps. These sticks were nearly straight to the height
|
||
|
of three or four feet, where each branched into a fork
|
||
|
like the letter Y. She sat down, snapped off the small
|
||
|
upper twigs, and carried the remainder with her into
|
||
|
the road. She placed one of these forks under each
|
||
|
arm as a crutch, tested them, timidly threw her whole
|
||
|
weight upon them -- so little that it was -- and swung
|
||
|
herself forward. The girl had made for herself a
|
||
|
material aid.
|
||
|
The crutches answered well. The pat of her feet,
|
||
|
and the tap of her sticks upon the highway, were all the
|
||
|
sounds that came from the traveller now. She had
|
||
|
passed the last milestone by a good long distance, and
|
||
|
began to look wistfully towards the bank as if calculating
|
||
|
upon another milestone soon. The crutches, though
|
||
|
so very useful, had their limits of power. Mechanism
|
||
|
only transfers labour, being powerless to supersede it,
|
||
|
and the original amount of exertion was not cleared
|
||
|
away; it was thrown into the body and arms. She was
|
||
|
exhausted, and each swing forward became fainter. At
|
||
|
last she swayed sideways, and fell.
|
||
|
Here she lay, a shapeless heap, for ten minutes and
|
||
|
more. The morning wind began to boom dully over
|
||
|
the flats, and to move afresh dead leaves which had
|
||
|
lain still since yesterday. The woman desperately
|
||
|
turned round upon her knees, and next rose to her
|
||
|
feet. Steadying herself by the help of one crutch, she
|
||
|
essayed a step, then another, then a third, using the
|
||
|
crutches now as walking-sticks only. Thus she pro-
|
||
|
gressed till descending Mellstock Hill another milestone
|
||
|
appeared, and soon the beginning of an iron-railed fence
|
||
|
came into view. She staggered across to the first post,
|
||
|
clung to it, and looked around.
|
||
|
The Casterbridge lights were now individually visible,
|
||
|
It was getting towards morning, and vehicles might be
|
||
|
hoped for, if not expected soon. She listened. There
|
||
|
was not a sound of life save that acme and sublimation
|
||
|
of all dismal sounds, the hark of a fox, its three hollow
|
||
|
notes being rendered at intervals of a minute with the
|
||
|
precision of a funeral bell.
|
||
|
"Less than a mile!" the woman murmured. "No;
|
||
|
more." she added, after a pause. "The mile is to the
|
||
|
county hall, and my resting-place is on the other side
|
||
|
Casterbridge. A little over a mile, and there I am!"
|
||
|
After an interval she again spoke. "Five or six steps to
|
||
|
a yard -- six perhaps. I have to go seventeen hundred
|
||
|
yards. A hundred times six, six hundred. Seventeen
|
||
|
times that. O pity me, Lord!"
|
||
|
Holding to the rails, she advanced, thrusting one
|
||
|
hand forward upon the rail, then the other, then leaning
|
||
|
over it whilst she dragged her feet on beneath.
|
||
|
This woman was not given to soliloquy; but ex-
|
||
|
tremity of feeling lessens the individuality of the weak,
|
||
|
as it increases that of the strong. She said again in the
|
||
|
same tone, "I'll believe that the end lies five posts for-
|
||
|
ward, and no further, and so get strength to pass them."
|
||
|
This was a practical application of the principle that
|
||
|
a half-feigned and fictitious faith is better than no faith
|
||
|
at all.
|
||
|
She passed five posts and held on to the fifth.
|
||
|
"I'll pass five more by believing my longed-for spot
|
||
|
is at the next fifth. I can do it."
|
||
|
she passed five more.
|
||
|
"It lies only five further."
|
||
|
She passed five more.
|
||
|
"But it is five further."
|
||
|
She passed them.
|
||
|
"That stone bridge is the end of my journey." she
|
||
|
said, when the bridge over the Froom was in view.
|
||
|
She crawled to the bridge. During the effort each
|
||
|
breath of the woman went into the air as if never to
|
||
|
return again.
|
||
|
"Now for the truth of the matter." she said, sitting
|
||
|
down. "The truth is, that I have less than half a mile."
|
||
|
Self-beguilement with what she had known all the time
|
||
|
to be false had given her strength to come over half
|
||
|
a mile that she would have been powerless to face in
|
||
|
the lump. The artifice showed that the woman, by
|
||
|
some mysterious intuition, had grasped the paradoxical
|
||
|
truth that blindness may operate more vigorously than
|
||
|
prescience, and the short-sighted effect more than the
|
||
|
far-seeing; that limitation, and not comprehensiveness,
|
||
|
is needed for striking a blow.
|
||
|
The half-mile stood now before the sick and weary
|
||
|
woman like a stolid Juggernaut. It was an impassive
|
||
|
King of her world. The road here ran across Durnover
|
||
|
Moor, open to the road on either side. She surveyed
|
||
|
the wide space, the lights, herself, sighed, and lay down
|
||
|
against a guard-stone of the bridge.
|
||
|
Never was ingenuity exercised so sorely as the
|
||
|
traveller here exercised hers. Every conceivable aid,
|
||
|
method, stratagem, mechanism, by which these last
|
||
|
desperate eight hundred yards could be overpassed by a
|
||
|
human being unperceived, was revolved in her busy
|
||
|
brain, and dismissed as impracticable. She thought of
|
||
|
sticks, wheels, crawling -- she even thought of rolling.
|
||
|
But the exertion demanded by either of these latter two
|
||
|
was greater than to walk erect. The faculty of con-
|
||
|
trivance was worn out, Hopelessness had come at
|
||
|
last.
|
||
|
"No further!" she whispered, and closed her eyes.
|
||
|
From the stripe of shadow on the opposite side of
|
||
|
the bridge a portion of shade seemed to detach itself
|
||
|
and move into isolation upon the pale white of the road.
|
||
|
It glided noiselessly towards the recumbent woman.
|
||
|
She became conscious of something touching her
|
||
|
hand; it was softness and it was warmth. She
|
||
|
opened her eye's, and the substance touched her face.
|
||
|
A dog was licking her cheek.
|
||
|
He was huge, heavy, and quiet creature, standing
|
||
|
darkly against the low horizon, and at least two feet
|
||
|
higher than the present position of her eyes. Whether
|
||
|
Newfoundland, mastiff, bloodhound, or what not, it was
|
||
|
impossible to say. He seemed to be of too strange and
|
||
|
mysterious a nature to belong to any variety among those
|
||
|
of popular nomenclature. Being thus assignable to no
|
||
|
breed, he was the ideal embodiment of canine greatness
|
||
|
-- a generalization from what was common to all. Night,
|
||
|
in its sad, solemn, and benevolent aspect, apart from its
|
||
|
stealthy and cruel side, was personified in this form
|
||
|
Darkness endows the small and ordinary ones among
|
||
|
mankind with poetical power, and even the suffering
|
||
|
woman threw her idea into figure.
|
||
|
In her reclining position she looked up to him just
|
||
|
as in earlier times she had, when standing, looked up
|
||
|
to a man. The animal, who was as homeless as she,
|
||
|
respectfully withdrew a step or two when the woman
|
||
|
moved, and, seeing that she did not repulse him, he
|
||
|
licked her hand again.
|
||
|
A thought moved within her like lightning. "Perhaps
|
||
|
I can make use of him -- I might do it then!"
|
||
|
She pointed in the direction of Casterbridge, and
|
||
|
the dog seemed to misunderstand: he trotted on. Then,
|
||
|
finding she could not follow, he came back and whined.
|
||
|
The ultimate and saddest singularity of woman's effort
|
||
|
and invention was reached when, with a quickened breath-
|
||
|
ing, she rose to a stooping posture, and, resting her two
|
||
|
little arms upon the shoulders of the dog, leant firmly
|
||
|
thereon, and murmured stimulating words. Whilst she
|
||
|
sorrowed in her heart she cheered with her voice, and
|
||
|
what was stranger than that the strong should need
|
||
|
encouragement from the weak was that cheerfulness
|
||
|
should be so well stimulated by such utter dejection.
|
||
|
Her friend moved forward slowly, and she with small
|
||
|
mincing steps moved forward beside him, half her
|
||
|
weight being thrown upon the animal. Sometimes
|
||
|
she sank as she had sunk from walking erect, from
|
||
|
the crutches, from the rails. The dog, who now
|
||
|
thoroughly understood her desire and her incapacity,
|
||
|
was frantic in his distress on these occasions; he would
|
||
|
tug at her dress and run forward. She always called
|
||
|
him back, and it was now to be observed that the
|
||
|
woman listened for human sounds only to avoid them.
|
||
|
It was evident that she had an object in keeping her
|
||
|
presence on the road and her forlorn state unknown.
|
||
|
Their progress was necessarily very slow. They
|
||
|
reached the bottom of the town, and the Casterbridge
|
||
|
lamps lay before them like fallen Pleiads as they turned
|
||
|
to the left into the dense shade of a deserted avenue of
|
||
|
chestnuts, and so skirted the borough. Thus the town
|
||
|
was passed, and the goal was reached.
|
||
|
On this much-desired spot outside the town rose a
|
||
|
picturesque building. Originally it had been a mere
|
||
|
case to hold people. The shell had been so thin, so
|
||
|
devoid of excrescence, and so closely drawn over the
|
||
|
accommodation granted, that the grim character of
|
||
|
what was beneath showed through it, as the shape of
|
||
|
a body is visible under a winding-sheet.
|
||
|
Then Nature, as if offended, lent a hand. Masses
|
||
|
of ivy grew up, completely covering the walls, till the
|
||
|
place looked like an abbey; and it was discovered that
|
||
|
the view from the front, over the Casterbridge chimneys,
|
||
|
was one of the most magnificent in the county. A
|
||
|
neighbouring earl once said that he would give up a
|
||
|
year's rental to have at his own door the view enjoyed
|
||
|
by the inmates from theirs -- and very probably the
|
||
|
inmates would have given up the view for his year's
|
||
|
rental.
|
||
|
This stone edifice consisted of a central mass and
|
||
|
two wings, whereon stood as sentinels a few slim
|
||
|
chimneys, now gurgling sorrowfully to the slow wind.
|
||
|
In the wall was a gate, and by the gate a bellpull
|
||
|
formed of a hanging wire. The woman raised herself
|
||
|
as high as possible upon her knees, and could just
|
||
|
reach the handle. She moved it and fell forwards in
|
||
|
a bowed attitude, her face upon her bosom.
|
||
|
It was getting on towards six o'clock, and sounds of
|
||
|
movement were to be heard inside the building which
|
||
|
was the haven of rest to this wearied soul. A little door
|
||
|
by the large one was opened, and a man appeared inside.
|
||
|
He discerned the panting heap of clothes, went back
|
||
|
for a light, and came again. He entered a second
|
||
|
time, and returned with two women.
|
||
|
These lifted the prostrate figure and assisted her in
|
||
|
through the doorway. The man then closed the door.
|
||
|
How did she get here?" said one of the women.
|
||
|
"The Lord knows." said the other.
|
||
|
There is a dog outside," murmured the overcome
|
||
|
traveller. "Where is he gone? He helped me."
|
||
|
I stoned him away." said the man.
|
||
|
The little procession then moved forward -- the man
|
||
|
in front bearing the light, the two bony women next,
|
||
|
supporting between them the small and supple one.
|
||
|
Thus they entered the house and disappeared.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLI
|
||
|
|
||
|
|
||
|
|
||
|
SUSPICION -- FANNY IS SENT FOR
|
||
|
|
||
|
|
||
|
BATHSHEBA said very little to her husband all that
|
||
|
evening of their return from market, and he was not
|
||
|
disposed to say much to her. He exhibited the un-
|
||
|
pleasant combination of a restless condition with a
|
||
|
silent tongue. The next day, which was Sunday, passed
|
||
|
nearly in the same manner as regarded their taciturnity,
|
||
|
Bathsheba going to church both morning and afternoon.
|
||
|
This was the day before the Budmouth races. In the
|
||
|
evening Troy said, suddenly --
|
||
|
"Bathsheba, could you let me have twenty pounds?"
|
||
|
Her countenance instantly sank." Twenty pounds?
|
||
|
she said.
|
||
|
"The fact is, I want it badly." The anxiety upon
|
||
|
Troy's face was unusual and very marked. lt was a
|
||
|
culmination of the mood he had been in all the day.
|
||
|
"Ah! for those races to-morrow."
|
||
|
Troy for the moment made no reply. Her mistake
|
||
|
had its advantages to a man who shrank from having
|
||
|
his mind inspected as he did now. "Well, suppose I
|
||
|
do want it for races?" he said, at last.
|
||
|
"O, Frank!" Bathsheba replied, and there was such
|
||
|
a volume of entreaty in the words. "Only such a few
|
||
|
weeks ago you said that I was far sweeter than all your
|
||
|
other pleasures put together, and that you would give
|
||
|
them all up for me; and now, won't you give up this
|
||
|
one, which is more a worry than a pleasure? Do,
|
||
|
Frank. Come, let me fascinate you by all I can do
|
||
|
-- by pretty words and pretty looks, and everything I
|
||
|
can think of -- to stay at home. Say yes to your wife --
|
||
|
say yes!"
|
||
|
The tenderest and softest phases of Bathsheba's
|
||
|
nature were prominent now -- advanced impulsively for
|
||
|
his acceptance, without any of the disguises and defences
|
||
|
which the wariness of her character when she was cool
|
||
|
too frequently threw over them. Few men could have
|
||
|
resisted the arch yet dignified entreaty of the beautiful
|
||
|
face, thrown a little back and sideways in the well
|
||
|
known attitude that expresses more than the words it
|
||
|
accompanies, and which seems to have been designed
|
||
|
for these special occasions. Had the woman not been
|
||
|
his wife, Troy would have succumbed instantly; as it
|
||
|
was, he thought he would not deceive her longer.
|
||
|
"The money is not wanted for racing debts at all,"
|
||
|
he said.
|
||
|
"What is it for?" she asked. "You worry me a great
|
||
|
deal by these mysterious responsibilities, Frank."
|
||
|
Troy hesitated. He did not now love her enough
|
||
|
to allow himself to be carried too far by her ways. Yet
|
||
|
it was necessary to be civil. "You wrong me by such
|
||
|
a suspicious manner, he said. "Such strait-waistcoating
|
||
|
as you treat me to is not becoming in you at so early a
|
||
|
date."
|
||
|
"I think that I have a right to grumble a little if I
|
||
|
pay." she said, with features between a smile and a
|
||
|
pout.
|
||
|
Exactly; and, the former being done, suppose we
|
||
|
proceed to the latter. Bathsheba, fun is all very well,
|
||
|
but don't go too far, or you may have cause to regret
|
||
|
something."
|
||
|
She reddened. "I do that already." she said, quickly
|
||
|
"What do you regret?"
|
||
|
SUSPICION
|
||
|
"That my romance has come to an end."
|
||
|
"All romances end at marriage."
|
||
|
"I wish you wouldn't talk like that. You grieve me
|
||
|
to my soul by being smart at my expense."
|
||
|
"You are dull enough at mine. I believe you hate
|
||
|
me."
|
||
|
"Not you -- only your faults. I do hate them."
|
||
|
"'Twould be much more becoming if you set your-
|
||
|
self to cure them. Come, let's strike a balance with
|
||
|
the twenty pounds, and be friends."
|
||
|
She gave a sigh of resignation. "I have about that
|
||
|
sum here for household expenses. If you must have it,
|
||
|
take it."
|
||
|
"Very good. Thank you. I expect I shall have
|
||
|
gone away before you are in to breakfast to-morrow."
|
||
|
"And must you go? Ah! there was a time, Frank,
|
||
|
when it would have taken a good many promises to
|
||
|
other people to drag you away from me. You used to
|
||
|
call me darling, then. But it doesn't matter to you how
|
||
|
my days are passed now."
|
||
|
"I must go, in spite of sentiment." Troy, as he
|
||
|
spoke, looked at his watch, and, apparently actuated by
|
||
|
NON LUCENDO principles, opened the case at the back,
|
||
|
revealing, snugly stowed within it, a small coil of hair.
|
||
|
Bathsheba's eyes had been accidentally lifted at that
|
||
|
moment, and she saw the action and saw the hair. She
|
||
|
flushed in pain and surprise, and some words escaped
|
||
|
her before she had thought whether or not it was wise
|
||
|
to utter them. "A woman's curl of hair!" she said.
|
||
|
"O, Frank, whose is that?"
|
||
|
Troy had instantly closed his watch. He carelessly
|
||
|
replied, as one who cloaked some feelings that the sight
|
||
|
had stirred." Why, yours, of course. Whose should it
|
||
|
be? I had quite forgotten that I had it."
|
||
|
"What a dreadful fib, Frank!"
|
||
|
"I tell you I had forgotten it!" he said, loudly.
|
||
|
"I don't mean that -- it was yellow hair."
|
||
|
"Nonsense."
|
||
|
"That's insulting me. I know it was yellow. Now
|
||
|
whose was it? I want to know."
|
||
|
"Very well I'll tell you, so make no more ado. It
|
||
|
is the hair of a young woman I was going to marry
|
||
|
before I knew you."
|
||
|
"You ought to tell me her name, then."
|
||
|
"I cannot do that."
|
||
|
"Is she married yet?"
|
||
|
"No."
|
||
|
"Is she alive?"
|
||
|
"Yes."
|
||
|
"Is she pretty?"
|
||
|
"Yes."
|
||
|
"It is wonderful how she can be, poor thing, under
|
||
|
such an awful affliction!"
|
||
|
"Affliction -- what affliction?" he inquired, quickly.
|
||
|
"Having hair of that dreadful colour."
|
||
|
"Oh -- ho-i like that!" said Troy, recovering him-
|
||
|
self. "Why, her hair has been admired by everybody
|
||
|
who has seen her since she has worn it loose, which has
|
||
|
not been long. It is beautiful hair. People used to
|
||
|
turn their heads to look at it, poor girl!"
|
||
|
"Pooh! that's nothing -- that's nothing!" she ex-
|
||
|
claimed, in incipient accents of pique. "If I cared for
|
||
|
your love as much as I used to I could say people had
|
||
|
turned to look at mine."
|
||
|
"Bathsheba, don't be so fitful and jealous. You
|
||
|
knew what married life would be like, and shouldn't
|
||
|
have entered it if you feared these contingencies."
|
||
|
Troy had by this time driven her to bitterness: her
|
||
|
heart was big in her throat, and the ducts to her eyes
|
||
|
were painfully full. Ashamed as she was to show
|
||
|
emotion, at last she burst out: --
|
||
|
"This is all I get for loving you so well! Ah! when
|
||
|
I married you your life was dearer to me than my own.
|
||
|
I would have died for you -- how truly I can say that I
|
||
|
would have died for you! And now you sneer at my
|
||
|
foolishness in marrying you. O! is it kind to me to
|
||
|
throw my mistake in my face? Whatever opinion you
|
||
|
may have of my wisdom, you should not tell me of it so
|
||
|
mercilessly, now that I am in your power."
|
||
|
"I can't help how things fall out." said Troy; "upon
|
||
|
my heart, women will be the death of me!"
|
||
|
"Well you shouldn't keep people's hair. You'll
|
||
|
burn it, won't you, Frank?"
|
||
|
Frank went on as if he had not heard her. "There
|
||
|
are considerations even before my consideration for you;
|
||
|
reparations to be made -- ties you know nothing of If
|
||
|
you repent of marrying, so do I."
|
||
|
Trembling now, she put her hand upon his arm,
|
||
|
saying, in mingled tones of wretchedness and coaxing,
|
||
|
"I only repent it if you don't love me better than any
|
||
|
woman in the world! I don't otherwise, Frank. You
|
||
|
don't repent because you already love somebody better
|
||
|
than you love me, do you?"
|
||
|
"I don't know. Why do you say that?"
|
||
|
"You won't burn that curl. You like the woman
|
||
|
who owns that pretty hair -- yes; it is pretty -- more
|
||
|
beautiful than my miserable black mane! Well, it is
|
||
|
no use; I can't help being ugly. You must like her
|
||
|
best, if you will!"
|
||
|
"Until to-day, when I took it from a drawer, I have
|
||
|
never looked upon that bit of hair for several months --
|
||
|
that I am ready to swear."
|
||
|
"But just now you said "ties;" and then -- that
|
||
|
woman we met?"
|
||
|
"'Twas the meeting with her that reminded me of
|
||
|
the hair."
|
||
|
"Is it hers, then?"
|
||
|
"Yes. There, now that you have wormed it out of
|
||
|
me, I hope you are content."
|
||
|
"And what are the ties?"
|
||
|
"Oh! that meant nothing -- a mere jest."
|
||
|
"A mere jest!" she said, in mournful astonishment.
|
||
|
"Can you jest when I am so wretchedly in earnest?
|
||
|
Tell me the truth, Frank. I am not a fool, you know,
|
||
|
although I am a woman, and have my woman's moments.
|
||
|
Come! treat me fairly." she said, looking honestly and
|
||
|
fearlessly into his face. "I don't want much; bare
|
||
|
justice -- that's all! Ah! once I felt I could be content
|
||
|
with nothing less than the highest homage from the
|
||
|
husband I should choose. Now, anything short of
|
||
|
cruelty will content me. Yes! the independent and
|
||
|
spirited Bathsheba is come to this!"
|
||
|
"For Heaven's sake don't be so desperate!"Troy
|
||
|
said, snappishly, rising as he did so, and leaving the
|
||
|
room.
|
||
|
Directly he had gone, Bathsheba burst into great
|
||
|
sobs -- dry-eyed sobs, which cut as they came, without
|
||
|
any softening by tears. But she determined to repress
|
||
|
all evidences of feeling. She was conquered; but she
|
||
|
would never own it as long as she lived. Her pride
|
||
|
was indeed brought low by despairing discoveries of her
|
||
|
spoliation by marriage with a less pure nature than her
|
||
|
own. She chafed to and fro in rebelliousness, like a
|
||
|
caged leopard; her whole soul was in arms, and the
|
||
|
blood fired her face. Until she had met Troy, Bath-
|
||
|
sheba had been proud of her position as a woman; it
|
||
|
had been a glory to her to know that her lips had been
|
||
|
touched by no man's on earth -- that her waist had
|
||
|
never been encircled by a lover's arm. She hated
|
||
|
herself now. In those earlier days she had always
|
||
|
nourished a secret contempt for girls who were the
|
||
|
slaves of the first goodlooking young fellow who should
|
||
|
choose to salute them. She had never taken kindly to
|
||
|
the idea of marriage in the abstract as did the majority
|
||
|
of women she saw about her. In the turmoil of her
|
||
|
anxiety for her lover she had agreed to marry him; but
|
||
|
the perception that had accompanied her happiest hours
|
||
|
on this account was rather that of self-sacrifice than of
|
||
|
promotion and honour. Although she scarcely knew
|
||
|
the divinity's name, Diana was the goddess whom
|
||
|
Bathsheba instinctively adored. That she had never,
|
||
|
by look, word, or sign, encouraged a man to approach
|
||
|
her -- that she had felt herself sufficient to herself, and
|
||
|
had in the independence of her girlish heart fancied
|
||
|
there was a certain degradation in renouncing the
|
||
|
simplicity of a maiden existence to become the humbler
|
||
|
half of an indifferent matrimonial whole -- were facts
|
||
|
now bitterly remembered. O, if she had never
|
||
|
stooped to folly of this kind, respectable as it was, and
|
||
|
could only stand again, as she had stood on the hill at
|
||
|
Norcombe, and dare Troy or any other man to pollute
|
||
|
a hair of her head by his interference!
|
||
|
The next morning she rose earlier than usual, and
|
||
|
had the horse saddled for her ride round the farm in
|
||
|
the customary way. When she came in at half-past
|
||
|
eight -- their usual hour for breakfasting -- she was in-
|
||
|
formed that her husband had risen, taken his breakfast,
|
||
|
and driven off to Casterbridge with the gig and Poppet.
|
||
|
After breakfast she was cool and collected -- quite
|
||
|
herself in fact -- and she rambled to the gate, intending
|
||
|
to walk to another quarter of the farm, which she still
|
||
|
personally superintended as well as her duties in the
|
||
|
house would permit, continually, however, finding her-
|
||
|
self preceded in forethought by Gabriel Oak, for whom
|
||
|
she began to entertain the genuine friendship of a sister.
|
||
|
Of course, she sometimes thought of him in the light of
|
||
|
an old lover, and had momentary imaginings of what
|
||
|
life with him as a husband would have been like; also
|
||
|
of life with Boldwood under the same conditions. But
|
||
|
Bathsheba, though she could feel, was not much given
|
||
|
to futile dreaming, and her musings under this head
|
||
|
were short and entirely confined to the times when
|
||
|
Troy's neglect was more than ordinarily evident.
|
||
|
She saw coming up the road a man like Mr. Boldwood.
|
||
|
It was Mr. Boldwood. Bathsheba blushed painfully,
|
||
|
and watched. The farmer stopped when still a long
|
||
|
way off, and held up his hand to Gabriel Oak, who was
|
||
|
in a footpath across the field. The two men then
|
||
|
approached each other and seemed to engage in
|
||
|
earnest conversation.
|
||
|
Thus they continued for a long time. Joseph Poor-
|
||
|
grass now passed near them, wheeling a barrow of apples
|
||
|
up the hill to Bathsheba's residence. Boldwood and
|
||
|
Gabriel called to him, spoke to him for a few minutes,
|
||
|
and then all three parted, Joseph immediately coming
|
||
|
up the hill with his barrow.
|
||
|
Bathsheba, who had seen this pantomime with some
|
||
|
surprise, experienced great relief when Boldwood turned
|
||
|
back again. "Well, what's the message, Joseph?" she
|
||
|
said.
|
||
|
He set down his barrow, and, putting upon himself
|
||
|
the refined aspect that a conversation with a lady re-
|
||
|
quired, spoke to Bathsheba over the gate.
|
||
|
"You'll never see Fanny Robin no more -- use nor
|
||
|
principal -- ma'am."
|
||
|
"Why?"
|
||
|
"Because she's dead in the Union."
|
||
|
"Fanny dead -- never!"
|
||
|
"Yes, ma'am."
|
||
|
"What did she die from?"
|
||
|
"I don't know for certain; but I should be inclined
|
||
|
to think it was from general weakness of constitution.
|
||
|
She was such a limber maid that 'a could stand no
|
||
|
hardship, even when I knowed her, and 'a went like a
|
||
|
candle-snoff, so 'tis said. She was took bad in the
|
||
|
morning, and, being quite feeble and worn out, she
|
||
|
died in the evening. She belongs by law to our parish;
|
||
|
and Mr. Boldwood is going to send a waggon at three
|
||
|
this afternoon to fetch her home here and bury her."
|
||
|
"Indeed I shall not let Mr. Boldwood do any such
|
||
|
thing-i shall do it! Fanny was my uncle's servant,
|
||
|
and, although I only knew her for a couple of days,
|
||
|
FANNY IS SENT FOR
|
||
|
she belongs to me. How very, very sad this is! --
|
||
|
the idea of Fanny being in a workhouse." Bathsheba
|
||
|
had begun to know what suffering was, and she spoke
|
||
|
with real feeling.... "Send across to Mr. Boldwood's,
|
||
|
and say that Mrs. Troy will take upon herself the duty
|
||
|
of fetching an old servant of the family.... We
|
||
|
ought not to put her in a waggon; we'll get a hearse."
|
||
|
"There will hardly be time, ma'am, will there?"
|
||
|
"Perhaps not." she said, musingly. "When did you
|
||
|
say we must be at the door -- three o'clock?"
|
||
|
"Three o'clock this afternoon, ma'am, so to speak it."
|
||
|
"Very well-you go with it. A pretty waggon is
|
||
|
better than an ugly hearse, after all. Joseph, have the
|
||
|
new spring waggon with the blue body and red wheels,
|
||
|
and wash it very clean. And, Joseph -- -- "
|
||
|
"Yes, ma'am."
|
||
|
"Carry with you some evergreens and flowers to put
|
||
|
upon her coffin -- indeed, gather a great many, and
|
||
|
completely bury her in them. Get some boughs of
|
||
|
laurustinus, and variegated box, and yew, and boy'siove;
|
||
|
ay, and some hunches of chrysanthemum. And let old
|
||
|
Pleasant draw her, because she knew him so well."I will, ma'am. I ought
|
||
|
to have said that the
|
||
|
Union, in the form of four labouring men, will meet me
|
||
|
when I gets to our churchyard gate, and take her and
|
||
|
bury her according to the rites of the Board of Guardians,
|
||
|
as by law ordained."
|
||
|
"Dear me -- Casterbridge Union -- and is Fanny come
|
||
|
to this?" said Bathsheba, musing. "I wish I had known
|
||
|
of it sooner. I thought she was far away. How long
|
||
|
has she lived there?"
|
||
|
"On'y been there a day or two."
|
||
|
"Oh! -- then she has not been staying there as a
|
||
|
regular inmate?"
|
||
|
"No. She first went to live in a garrison-town t'other
|
||
|
side o' Wessex, and since then she's been picking up a
|
||
|
living at seampstering in Melchester for several months,
|
||
|
at the house of a very respectable widow-woman who
|
||
|
takes in work of that sort. She only got handy the
|
||
|
Union-house on Sunday morning 'a b'lieve, and 'tis sup-
|
||
|
posed here and there that she had traipsed every step
|
||
|
of the way from Melchester. Why she left her place,
|
||
|
I can't say, for I don't know; and as to a lie, why, I
|
||
|
wouldn't tell it. That's the short of the story, ma'am."
|
||
|
"Ah-h!"
|
||
|
No gem ever flashed from a rosy ray to a white one
|
||
|
more rapidly than changed the young wife's counten-
|
||
|
ance whilst this word came from her in a long-drawn
|
||
|
breath. "Did she walk along our turnpike-road?" she
|
||
|
said, in a suddenly restless and eager voice.
|
||
|
"I believe she did.... Ma'am, shall I call Liddy?
|
||
|
You bain't well, ma'am, surely? You look like a lily --
|
||
|
so pale and fainty!"
|
||
|
"No; don't call her; it is nothing. When did she
|
||
|
pass Weatherbury?"
|
||
|
"Last Saturday night."
|
||
|
"That will do, Joseph; now you may go."
|
||
|
Certainly, ma'am."
|
||
|
"Joseph, come hither a moment. What was the
|
||
|
colour of Fanny Robin's hair?"
|
||
|
"Really, mistress, now that 'tis put to me so judge-
|
||
|
and-jury like, I can't call to mind, if ye'll believe me!"
|
||
|
"Never mind; go on and do what I told you. Stop
|
||
|
-- well no, go on."
|
||
|
She turned herself away from him, that he might no
|
||
|
longer notice the mood which had set its sign so visibly
|
||
|
upon her, and went indoors with a distressing sense of
|
||
|
faintness and a beating brow. About an hour after, she
|
||
|
heard the noise of the waggon and went out, still with a
|
||
|
painful consciousness of her bewildered and troubled
|
||
|
look. Joseph, dressed in his best suit of clothes, was
|
||
|
putting in the horse to start. The shrubs and flowers
|
||
|
were all piled in the waggon, as she had directed
|
||
|
Bathsheba hardly saw them now.
|
||
|
"Whose sweetheart did you say, Joseph?"
|
||
|
"I don't know, ma'am."
|
||
|
"Are you quite sure?"
|
||
|
"Yes, ma'am, quite sure."Sure of what?"
|
||
|
"I'm sure that all I know is that she arrived in the
|
||
|
morning and died in the evening without further parley.
|
||
|
What Oak and Mr. Boldwood told me was only these
|
||
|
few words. `Little Fanny Robin is dead, Joseph,'
|
||
|
Gabriel said, looking in my face in his steady old way.
|
||
|
I was very sorry, and I said, `Ah! -- and how did she
|
||
|
come to die?' `Well, she's dead in Casterhridge
|
||
|
Union,' he said, `and perhaps 'tisn't much matter
|
||
|
about how she came to die. She reached the Union
|
||
|
early Sunday morning, and died in the afternoon -- that's
|
||
|
clear enough.' Then I asked what she'd been doing
|
||
|
lately, and Mr. Boldwood turned round to me then, and
|
||
|
left off spitting a thistle with the end of his stick. He
|
||
|
told me about her having lived by seampstering in
|
||
|
Melchester, as I mentioned to you, and that she walked
|
||
|
therefrom at the end of last week, passing near here
|
||
|
Saturday night in the dusk. They then said I had
|
||
|
better just name a hint of her death to you, and away
|
||
|
they went. Her death might have been brought on by
|
||
|
biding in the night wind, you know, ma'am; for people
|
||
|
used to say she'd go off in a decline: she used to cough
|
||
|
a good deal in winter time. However, 'tisn't much
|
||
|
odds to us about that now, for 'tis all over."
|
||
|
"Have you heard a different story at all?' She
|
||
|
looked at him so intently that Joseph's eyes quailed.
|
||
|
"Not a word, mistress, I assure 'ee!" he said.
|
||
|
"Hardly anybody in the parish knows the news yet."
|
||
|
"I wonder why Gabriel didn't bring the message to
|
||
|
me himself. He mostly makes a point of seeing me
|
||
|
upon the most trifling errand." These words were
|
||
|
merely murmured, and she was looking upon the ground.
|
||
|
"Perhaps he was busy, ma'am." Joseph suggested.
|
||
|
"And sometimes he seems to suffer from things upon
|
||
|
his mind, connected with the time when he was better
|
||
|
off than 'a is now. 'A's rather a curious item, but a
|
||
|
very understanding shepherd, and learned in books."
|
||
|
"Did anything seem upon his mind whilst he was
|
||
|
speaking to you about this?"
|
||
|
"I cannot but say that there did, ma'am. He was
|
||
|
terrible down, and so was Farmer Boldwood."
|
||
|
"Thank you, Joseph. That will do. Go on now,
|
||
|
or you'll be late."
|
||
|
Bathsheba, still unhappy, went indoors again. In
|
||
|
the course of the afternoon she said to Liddy, Who had
|
||
|
been informed of the occurrence, " What was the colour
|
||
|
of poor Fanny Robin's hair? Do you know? I cannot
|
||
|
recollect-i only saw her for a day or two."
|
||
|
"It was light, ma'am; but she wore it rather short,
|
||
|
and packed away under her cap, so that you would
|
||
|
hardly notice it. But I have seen her let it down when
|
||
|
she was going to bed, and it looked beautiful then.
|
||
|
Real golden hair."
|
||
|
"Her young man was a soldier, was he not?"
|
||
|
"Yes. In the same regiment as Mr. Troy. He says
|
||
|
he knew him very well."What, Mr. Troy says so? How came he to say
|
||
|
that?"
|
||
|
"One day I just named it to him, and asked him if
|
||
|
he knew Fanny's young man. He said, "O yes, he
|
||
|
knew the young man as well as he knew himself, and
|
||
|
that there wasn't a man in the regiment he liked
|
||
|
better."
|
||
|
"Ah! Said that, did he?"
|
||
|
"Yes; and he said there was a strong likeness be-
|
||
|
tween himself and the other young man, so that some-
|
||
|
times people mistook them -- -- "
|
||
|
"Liddy, for Heaven's sake stop your talking!" said
|
||
|
Bathsheba, with the nervous petulance that comes from
|
||
|
worrying perceptions.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLII
|
||
|
|
||
|
|
||
|
|
||
|
JOSEPH AND HIS BURDEN
|
||
|
|
||
|
|
||
|
A WALL bounded the site of Casterbridge Union-
|
||
|
house, except along a portion of the end. Here a high
|
||
|
gable stood prominent, and it was covered like the front
|
||
|
with a mat of ivy. In this gable was no window,
|
||
|
chimney, ornament, or protuberance of any kind. The
|
||
|
single feature appertaining to it, beyond the expanse of
|
||
|
dark green leaves, was a small door.
|
||
|
The situation of the door was peculiar. The sill
|
||
|
was three or four feet above the ground, and for a
|
||
|
moment one was at a loss for an explanation of this
|
||
|
exceptional altitude, till ruts immediately beneath sug-
|
||
|
gested that the door was used solely for the passage of
|
||
|
articles and persons to and from the level of a vehicle
|
||
|
standing on the outside. Upon the whole, the door
|
||
|
seemed to advertise itself as a species of Traitor's Gate
|
||
|
translated to another sphere. That entry and exit
|
||
|
hereby was only at rare intervals became apparent on
|
||
|
noting that tufts of grass were allowed to flourish undis-
|
||
|
turbed in the chinks of the sill.
|
||
|
As the clock over the South-street Alms-house pointed
|
||
|
to five minutes to three, a blue spring waggon, picked
|
||
|
out with red, and containing boughs and flowers, passed
|
||
|
the end of the street, and up towards this side of the
|
||
|
building. Whilst the chimes were yet stammering out
|
||
|
a shattered form of "Malbrook." Joseph Poorgrass rang
|
||
|
the bell, and received directions to back his waggon
|
||
|
against the high door under the gable. The door then
|
||
|
opened, and a plain elm coffin was slowly thrust forth,
|
||
|
and laid by two men in fustian along the middle of the
|
||
|
vehicle.
|
||
|
One of the men then stepped up beside it, took from
|
||
|
his pocket a lump of chalk, and wrote upon the cover
|
||
|
the name and a few other words in a large scrawling
|
||
|
hand. (We believe that they do these things more
|
||
|
tenderly now, and provide a plate.) He covered the
|
||
|
whole with a black cloth, threadbare, but decent, the
|
||
|
tailboard of the waggon was returned to its place, one
|
||
|
of the men handed a certificate of registry to Poorgrass,
|
||
|
and both entered the door, closing it behind them.
|
||
|
Their connection with her, short as it had been, was
|
||
|
over for ever.
|
||
|
Joseph then placed the flowers as enjoined, and the
|
||
|
evergreens around the flowers, till it was difficult to
|
||
|
divine what the waggon contained; he smacked his
|
||
|
whip, and the rather pleasing funeral car crept down
|
||
|
the hill, and along the road to Weatherbury.
|
||
|
The afternoon drew on apace, and, looking to the
|
||
|
right towards the sea as he walked beside the horse, Poor-
|
||
|
grass saw strange clouds and scrolls of mist rolling over
|
||
|
the long ridges which girt the landscape in that quarter.
|
||
|
They came in yet greater volumes, and indolently crept
|
||
|
across the intervening valleys, and around the withered
|
||
|
papery flags of the moor and river brinks. Then their
|
||
|
dank spongy forms closed in upon the sky. It was
|
||
|
a sudden overgrowth of atmospheric fungi which had
|
||
|
their roots in the neighbouring sea, and by the time
|
||
|
that horse, man, and corpse entered Yalbury Great
|
||
|
Wood, these silent workings of an invisible hand had
|
||
|
reached them, and they were completely enveloped,
|
||
|
this being the first arrival of the autumn fogs, and the
|
||
|
first fog of the series.
|
||
|
The air was as an eye suddenly struck blind. The
|
||
|
waggon and its load rolled no longer on the horizontal
|
||
|
division between clearness and opacity, but were
|
||
|
imbedded in an elastic body of a monotonous pallor
|
||
|
throughout. There was no perceptible motion in the
|
||
|
air, not a visible drop of water fell upon a leaf of the
|
||
|
beeches, birches, and firs composing the wood on either
|
||
|
side. The trees stood in an attitude of intentness, as if
|
||
|
they waited longingly for a wind to come and rock
|
||
|
them. A startling quiet overhung all surrounding things
|
||
|
-- so completely, that the crunching of the waggon-
|
||
|
wheels was as a great noise, and small rustles, which
|
||
|
had never obtained a hearing except by night, were dis-
|
||
|
tinctly individualized.
|
||
|
Joseph Poorgrass looked round upon his sad burden
|
||
|
as it loomed faintly through the flowering laurustinus,
|
||
|
then at the unfathomable gloom amid the high trees on
|
||
|
each hand, indistinct, shadowless, and spectrelike in
|
||
|
their monochrome of grey. He felt anything but cheer-
|
||
|
ful, and wished he had the company even of a child or
|
||
|
dog. Stopping the home, he listened. Not a footstep
|
||
|
or wheel was audible anywhere around, and the dead
|
||
|
silence was broken only by a heavy particle falling from
|
||
|
a tree through the evergreens and alighting with a smart
|
||
|
rap upon the coffin of poor Fanny. The fog had by
|
||
|
this time saturated the trees, and this was the first
|
||
|
dropping of water from the overbrimming leaves. The
|
||
|
hollow echo of its fall reminded the waggoner painfully
|
||
|
of the grim Leveller. Then hard by came down another
|
||
|
drop, then two or three. Presently there was a continual
|
||
|
tapping of these heavy drops upon the dead leaves, the
|
||
|
road, and the travellers. The nearer boughs were beaded
|
||
|
with the mist to the greyness of aged men, and the rusty-
|
||
|
red leaves of the beeches were hung with similar drops,
|
||
|
like diamonds on auburn hair.
|
||
|
At the roadside hamlet called Roy-Town, just beyond
|
||
|
this wood, was the old inn Buck's Head. It was about
|
||
|
a mile and a half from Weatherbury, and in the meridian
|
||
|
times of stage-coach travelling had been the place
|
||
|
where many coaches changed and kept their relays
|
||
|
of horses. All the old stabling was now pulled down,
|
||
|
and little remained besides the habitable inn itself,
|
||
|
which, standing a little way back from the road, sig-
|
||
|
nified its existence to people far up and down the
|
||
|
highway by a sign hanging from the horizontal bough
|
||
|
of an elm on the opposite side of the way.
|
||
|
Travellers -- for the variety TOURIST had hardly
|
||
|
developed into a distinct species at this date -- some-
|
||
|
times said in passing, when they cast their eyes up to
|
||
|
the sign-bearing tree, that artists were fond of repre-
|
||
|
senting the signboard hanging thus, but that they
|
||
|
themselves had never before noticed so perfect an
|
||
|
instance in actual working order. It was near this tree
|
||
|
that the waggon was standing into which Gabriel Oak
|
||
|
crept on his first journey to Weatherbury; but, owing
|
||
|
to the darkness, the sign and the inn had been un-
|
||
|
observed.
|
||
|
The manners of the inn were of the old-established
|
||
|
type. Indeed, in the minds of its frequenters they
|
||
|
existed as unalterable formulae: E.G. --
|
||
|
Rap with the bottom of your pint for more liquor.
|
||
|
For tobacco, shout.
|
||
|
In calling for the girl in waiting, say, "Maid!"
|
||
|
Ditto for the landlady, "Old Soul!" etc., etc.
|
||
|
It was a relief to Joseph's heart when the friendly
|
||
|
signboard came in view, and, stopping his horse
|
||
|
immediately beneath it, he proceeded to fulfil an
|
||
|
intention made a long time before. His spirits were
|
||
|
oozing out of him quite. He turned the horse's head
|
||
|
to the green bank, and entered the hostel for a mug
|
||
|
of ale.
|
||
|
Going down into the kitchen of the inn, the floor
|
||
|
of which was a step below the passage, which in its
|
||
|
turn was a step below the road outside, what should
|
||
|
Joseph see to gladden his eyes but two copper-coloured
|
||
|
discs, in the form of the countenances of Mr. Jan
|
||
|
Coggan and Mr. Mark Clark. These owners of the
|
||
|
two most appreciative throats in the neighbourhood,
|
||
|
within the pale of respectability, were now sitting face
|
||
|
to face over a threelegged circular table, having an
|
||
|
iron rim to keep cups and pots from being accidentally
|
||
|
elbowed off; they might have been said to resemble
|
||
|
the setting sun and the full moon shining VIS-A-VIS
|
||
|
across the globe.
|
||
|
"Why, 'tis neighbour Poorgrass!" said Mark Clark.
|
||
|
"I'm sure your face don't praise your mistress's table,
|
||
|
Joseph."
|
||
|
"I've had a very pale companion for the last four
|
||
|
miles." said Joseph, indulging in a shudder toned
|
||
|
down by resignation. "And to speak the truth, 'twas
|
||
|
beginning to tell upon me. I assure ye, I ha'n't seed
|
||
|
the colour of victuals or drink since breakfast time
|
||
|
this morning, and that was no more than a dew-bit
|
||
|
afield."
|
||
|
"Then drink, Joseph, and don't restrain yourself!"
|
||
|
said Coggan, handing him a hooped mug three-
|
||
|
quarters full.
|
||
|
Joseph drank for a moderately long time, then for
|
||
|
a longer time, saying, as he lowered the jug, "'Tis
|
||
|
pretty drinking -- very pretty drinking, and is more
|
||
|
than cheerful on my melancholy errand, so to speak it."
|
||
|
"True, drink is a pleasant delight." said Jan, as one
|
||
|
who repeated a truism so familiar to his brain that he
|
||
|
hardly noticed its passage over his tongue; and,
|
||
|
lifting the cup, Coggan tilted his head gradually
|
||
|
backwards, with closed eyes, that his expectant soul
|
||
|
might not be diverted for one instant from its bliss
|
||
|
by irrelevant surroundings.
|
||
|
"Well, I must be on again." said Poorgrass. "Not
|
||
|
but that I should like another nip with ye; but the
|
||
|
parish might lose confidence in me if I was seed
|
||
|
here."
|
||
|
"Where be ye trading o't to to-day, then, Joseph?"
|
||
|
"Back to Weatherbury. I've got poor little Fanny
|
||
|
Robin in my waggon outside, and I must be at the
|
||
|
churchyard gates at a quarter to five with her."
|
||
|
"Ay-i've heard of it. And so she's nailed up in
|
||
|
parish boards after all, and nobody to pay the bell
|
||
|
shilling and the grave half-crown."
|
||
|
"The parish pays the grave half-crown, but not the
|
||
|
bell shilling, because the bell's a luxery: but 'a can
|
||
|
hardly do without the grave, poor body. However, I
|
||
|
expect our mistress will pay all."
|
||
|
"A pretty maid as ever I see! But what's yer hurry,
|
||
|
Joseph? The pore woman's dead, and you can't bring
|
||
|
her to life, and you may as well sit down comfortable,
|
||
|
and finish another with us."
|
||
|
"I don't mind taking just the least thimbleful ye
|
||
|
can dream of more with ye, sonnies. But only a few
|
||
|
minutes, because 'tis as 'tis."
|
||
|
"Of course, you'll have another drop. A man's
|
||
|
twice the man afterwards. You feel so warm and
|
||
|
glorious, and you whop and slap at your work without
|
||
|
any trouble, and everything goes on like sticks a-
|
||
|
breaking. Too much liquor is bad, and leads us to
|
||
|
that horned man in the smoky house; but after all,
|
||
|
many people haven't the gift of enjoying a wet, and
|
||
|
since we be highly favoured with a power that way,
|
||
|
we should make the most o't."True." said Mark Clark. "'Tis a talent the
|
||
|
Lord
|
||
|
has mercifully bestowed upon us, and we ought not
|
||
|
to neglect it. But, what with the parsons and clerks
|
||
|
and schoolpeople and serious tea-parties, the merry
|
||
|
old ways of good life have gone to the dogs -- upon
|
||
|
my carcase, they have!"
|
||
|
"Well, really, I must be onward again now." said
|
||
|
Joseph.
|
||
|
"Now, now, Joseph; nonsense! The poor woman
|
||
|
is dead, isn't she, and what's your hurry?"
|
||
|
"Well, I hope Providence won't be in a way with
|
||
|
me for my doings." said Joseph, again sitting down.
|
||
|
"I've been troubled with weak moments lately, 'tis
|
||
|
true. I've been drinky once this month already, and
|
||
|
I did not go to church a-Sunday, and I dropped a
|
||
|
curse or two yesterday; so I don't want to go too far
|
||
|
for my safety. Your next world is your next world,
|
||
|
and not to be squandered offhand."
|
||
|
"I believe ye to be a chapelmember, Joseph. That
|
||
|
I do."
|
||
|
"Oh, no, no! I don't go so far as that."
|
||
|
"For my part." said Coggan, "I'm staunch Church
|
||
|
of England."
|
||
|
"Ay, and faith, so be I." said Mark Clark.
|
||
|
"I won't say much for myself; I don't wish to,"
|
||
|
Coggan continued, with that tendency to talk on
|
||
|
principles which is characteristic of the barley-corn.
|
||
|
"But I've never changed a single doctrine: I've stuck
|
||
|
like a plaster to the old faith I was born in. Yes;
|
||
|
there's this to be said for the Church, a man can
|
||
|
belong to the Church and bide in his cheerful old
|
||
|
inn, and never trouble or worry his mind about
|
||
|
doctrines at all. But to be a meetinger, you must
|
||
|
go to chapel in all winds and weathers, and make
|
||
|
yerself as frantic as a skit. Not but that chapel
|
||
|
members be clever chaps enough in their way. They
|
||
|
can lift up beautiful prayers out of their own heads, all
|
||
|
about their families and shipwrecks in the newspaper."
|
||
|
"They can -- they can." said Mark Clark, with cor-
|
||
|
roborative feeling; "but we Churchmen, you see, must
|
||
|
have it all printed aforehand, or, dang it all, we should
|
||
|
no more know what to say to a great gaffer like the
|
||
|
Lord than babes unborn,"
|
||
|
"Chapelfolk be more hand-in-glove with them above
|
||
|
than we." said Joseph, thoughtfully.
|
||
|
"Yes." said Coggan. "We know very well that if
|
||
|
anybody do go to heaven, they will. They've worked
|
||
|
hard for it, and they deserve to have it, such as 'tis.
|
||
|
I bain't such a fool as to pretend that we who stick
|
||
|
to the Church have the same chance as they, because
|
||
|
we know we have not. But I hate a feller who'll
|
||
|
change his old ancient doctrines for the sake of getting
|
||
|
to heaven. I'd as soon turn king's-evidence for the
|
||
|
few pounds you get. Why, neighbours, when every
|
||
|
one of my taties were frosted, our Parson Thirdly
|
||
|
were the man who gave me a sack for seed, though
|
||
|
he hardly had one for his own use, and no money to
|
||
|
buy 'em. If it hadn't been for him, I shouldn't hae
|
||
|
had a tatie to put in my garden. D'ye think I'd
|
||
|
turn after that? No, I'll stick to my side; and if we
|
||
|
be in the wrong, so be it: I'll fall with the fallen!"
|
||
|
"Well said -- very well said." observed Joseph. --
|
||
|
"However, folks, I must be moving now: upon my life
|
||
|
I must. Pa'son Thirdly will be waiting at the church
|
||
|
gates, and there's the woman a-biding outside in the
|
||
|
waggon."
|
||
|
"Joseph Poorgrass, don't be so miserable! Pa'son
|
||
|
Thirdly won't mind. He's a generous man; he's found
|
||
|
me in tracts for years, and I've consumed a good many
|
||
|
in the course of a long and shady life; but he's never
|
||
|
been the man to cry out at the expense. Sit down."
|
||
|
The longer Joseph Poorgrass remained, the less his
|
||
|
spirit was troubled by the duties which devolved upon
|
||
|
him this afternoon. The minutes glided by uncounted,
|
||
|
until the evening shades began perceptibly to deepen,
|
||
|
and the eyes of the three were but sparkling points
|
||
|
on the surface of darkness. Coggan's repeater struck
|
||
|
six from his pocket in the usual still small tones.
|
||
|
At that moment hasty steps were heard in the entry,
|
||
|
and the door opened to admit the figure of Gabriel Oak,
|
||
|
followed by the maid of the inn bearing a candle. He
|
||
|
stared sternly at the one lengthy and two round faces
|
||
|
of the sitters, which confronted him with the expressions
|
||
|
of a fiddle and a couple of warming-pans. Joseph Poor-
|
||
|
grass blinked, and shrank several inches into the back-
|
||
|
ground.
|
||
|
"Upon my soul, I'm ashamed of you; 'tis disgraceful,
|
||
|
Joseph, disgraceful!" said Gabriel, indignantly. "Coggan,
|
||
|
you call yourself a man, and don't know better than this."
|
||
|
Coggan looked up indefinitely at Oak, one or other
|
||
|
of his eyes occasionally opening and closing of its own
|
||
|
accord, as if it were not a member, but a dozy individual
|
||
|
with a distinct personality.
|
||
|
"Don't take on so, shepherd!" said Mark Clark,
|
||
|
looking reproachfully at the candle, which appeared
|
||
|
to possess special features of interest for his eyes.
|
||
|
"Nobody can hurt a dead woman." at length said
|
||
|
Coggan, with the precision of a machine. "All that
|
||
|
could be done for her is done -- she's beyond us: and
|
||
|
why should a man put himself in a tearing hurry for
|
||
|
lifeless clay that can neither feel nor see, and don't
|
||
|
know what you do with her at all? If she'd been
|
||
|
alive, I would have been the first to help her. If she
|
||
|
now wanted victuals and drink, I'd pay for it, money
|
||
|
down. But she's dead, and no speed of ours will
|
||
|
bring her to life. The woman's past us -- time spent
|
||
|
upon her is throwed away: why should we hurry to
|
||
|
do what's not required? Drink, shepherd, and be
|
||
|
friends, for to-morrow we may be like her."
|
||
|
"We may." added Mark Clark, emphatically, at once
|
||
|
drinking himself, to run no further risk of losing his
|
||
|
chance by the event alluded to, Jan meanwhile merging
|
||
|
his additional thoughts of to-morrow in a song: --
|
||
|
To-mor-row, to-mor-row!
|
||
|
And while peace and plen-ty I find at my board,
|
||
|
With a heart free from sick-ness and sor-row,
|
||
|
With my friends will I share what to-day may af-ford,
|
||
|
And let them spread the ta-ble to-mor-row.
|
||
|
To-mor -- row', to-mor --
|
||
|
"Do hold thy horning, Jan!" said Oak; and turning
|
||
|
upon Poorgrass, " as for you, Joseph, who do your wicked
|
||
|
deeds in such confoundedly holy ways, you are as drunk
|
||
|
as you can stand."
|
||
|
"No, Shepherd Oak, no! Listen to reason, shepherd.
|
||
|
All that's the matter with me is the affliction called a
|
||
|
multiplying eye, and that's how it is I look double to
|
||
|
you-i mean, you look double to me."
|
||
|
A multiplying eye is a very bad thing." said Mark
|
||
|
Clark.
|
||
|
"It always comes on when I have been in a public --
|
||
|
house a little time." said Joseph Poorgrass, meekly.
|
||
|
"Yes; I see two of every sort, as if I were some holy
|
||
|
man living in the times of King Noah and entering
|
||
|
into the ark.... Y-y-y-yes." he added, becoming much
|
||
|
affected by the picture of himself as a person thrown
|
||
|
away, and shedding tears; "I feel too good for England:
|
||
|
I ought to have lived in Genesis by rights, like the other
|
||
|
men of sacrifice, and then I shouldn't have b-b-been
|
||
|
called a d-d-drunkard in such a way!"
|
||
|
"I wish you'd show yourself a man of spirit, and not
|
||
|
sit whining there!"
|
||
|
"Show myself a man of spirit? ... Ah, well! let
|
||
|
me take the name of drunkard humbly-iet me be a
|
||
|
man of contrite knees-iet it be! l know that I always
|
||
|
do say "Please God" afore I do anything, from my
|
||
|
getting up to my going down of the same, and I be
|
||
|
willing to take as much disgrace as there is in that
|
||
|
holy act. Hah, yes! ... But not a man of spirit?
|
||
|
Have I ever allowed the toe of pride to be lifted
|
||
|
against my hinder parts without groaning manfully that
|
||
|
I question the right to do so? I inquire that query
|
||
|
boldly?"
|
||
|
"We can't say that you have, Hero Poorgrass,"
|
||
|
admitted Jan.
|
||
|
"Never have I allowed such treatment to pass un-
|
||
|
questioned! Yet the shepherd says in the face of that
|
||
|
rich testimony that I be not a man of spirit! Well,
|
||
|
let it pass by, and death is a kind friend!"
|
||
|
Gabriel, seeing that neither of the three was in a fit
|
||
|
state to Cake charge of the waggon for the remainder of
|
||
|
the journey, made no reply, but, closing the door again
|
||
|
upon them, went across to where the vehicle stood, now
|
||
|
getting indistinct in the fog and gloom of this mildewy
|
||
|
time. He pulled the horse's head from the large patch
|
||
|
of turf it had eaten bare, readjusted the boughs over
|
||
|
the coffin, and drove along through the unwholesome
|
||
|
night.
|
||
|
It had gradually become rumoured in the village
|
||
|
that the body to be brought and buried that day was
|
||
|
all that was left of the unfortunate Fanny Robin who
|
||
|
had followed the Eleventh from Casterbridge through
|
||
|
Melchester and onwards. But, thanks to Boldwood's
|
||
|
reticence and Oak's generosity, the lover she had followed
|
||
|
had never been individualized as Troy. Gabriel hoped
|
||
|
that the whole truth of the matter might not be published
|
||
|
till at any rate the girl had been in her grave for a few
|
||
|
days, when the interposing barriers of earth and time,
|
||
|
and a sense that the events had been somewhat shut
|
||
|
into oblivion, would deaden the sting that revelation and
|
||
|
invidious remark would have for Bathsheba just now.
|
||
|
By the time that Gabriel reached the old manor-
|
||
|
house, her residence, which lay in his way to the church,
|
||
|
it was quite dark. A man came from the gate and said
|
||
|
through the fog, which hung between them like blown
|
||
|
flour --
|
||
|
"Is that Poorgrass with the corpse?"
|
||
|
Gabriel recognized the voice as that of the parson.
|
||
|
"The corpse is here, sir." said Gabriel.
|
||
|
"I have just been to inquire of Mrs. Troy if she could
|
||
|
tell me the reason of the delay. I am afraid it is too
|
||
|
late now for the funeral to be performed with proper
|
||
|
decency. Have you the registrar's certificate?"
|
||
|
"No." said Gabriel. "I expect Poorgrass has that;
|
||
|
and he's at the Buck's Head. I forgot to ask him
|
||
|
for it."
|
||
|
"Then that settles the matter. We'll put off the
|
||
|
funeral till to-morrow morning. The body may be
|
||
|
brought on to the church, or it may be left here at
|
||
|
the farm and fetched by the bearers in the morning.
|
||
|
They waited more than an hour, and have now gone
|
||
|
home."
|
||
|
Gabriel had his reasons for thinking the latter a
|
||
|
most objectionable plan, notwithstanding that Fanny
|
||
|
had been an inmate of the farm-house for several years
|
||
|
in the lifetime of Bathsheba's uncle. Visions of several
|
||
|
unhappy contingencies which might arise from this delay
|
||
|
flitted before him. But his will was not law, and he
|
||
|
went indoors to inquire of his mistress what were her
|
||
|
wishes on the subject. He found her in an unusual
|
||
|
mood: her eyes as she looked up to him were suspicious
|
||
|
and perplexed as with some antecedent thought. Troy
|
||
|
had not yet returned. At first Bathsheba assented with
|
||
|
a mien of indifference to his proposition that they should
|
||
|
go on to the church at once with their burden; but
|
||
|
immediately afterwards, following Gabriel to the gate,
|
||
|
she swerved to the extreme of solicitousness on Fanny's
|
||
|
account, and desired that the girl might be brought into
|
||
|
the house. Oak argued upon the convenience of leaving
|
||
|
her in the waggon, just as she lay now, with her flowers
|
||
|
and green leaves about her, merely wheeling the vehicle
|
||
|
into the coach-house till the morning, but to no purpose,
|
||
|
"It is unkind and unchristian." she said, "to leave the
|
||
|
poor thing in a coach-house all night."
|
||
|
Very well, then." said the parson. "And I will
|
||
|
arrange that the funeral shall take place early to-
|
||
|
morrow. Perhaps Mrs. Troy is right in feeling that we
|
||
|
cannot treat a dead fellow-creature too thoughtfully
|
||
|
We must remember that though she may have erred
|
||
|
grievously in leaving her home, she is still our sister:
|
||
|
and it is to be believed that God's uncovenanted
|
||
|
mercies are extended towards her, and that she is a
|
||
|
member of the flock of Christ."
|
||
|
The parson's words spread into the heavy air with a
|
||
|
sad yet unperturbed cadence, and Gabriel shed an
|
||
|
honest tear. Bathsheba seemed unmoved. Mr.
|
||
|
Thirdly then left them, and Gabriel lighted a lantern.
|
||
|
Fetching three other men to assist him, they bore the
|
||
|
unconscious truant indoors, placing the coffin on two
|
||
|
benches in the middle of a little sitting-room next the
|
||
|
hall, as Bathsheba directed.
|
||
|
Every one except Gabriel Oak then left the room.
|
||
|
He still indecisively lingered beside the body. He was
|
||
|
deeply troubled at the wretchedly ironical aspect that
|
||
|
circumstances were putting on with regard to Troy's
|
||
|
wife, and at his own powerlessness to counteract them,
|
||
|
(n spite of his careful manoeuvring all this day, the very
|
||
|
worst event that could in any way have happened in
|
||
|
connection with the burial had happened now. Oak
|
||
|
imagined a terrible discovery resulting from this after-
|
||
|
noon's work that might cast over Bathsheba's life a shade
|
||
|
which the interposition of many lapsing years might but
|
||
|
indifferently lighten, and which nothing at all might
|
||
|
altogether remove.
|
||
|
Suddenly, as in a last attempt to save Bathsheba
|
||
|
from, at any rate, immediate anguish, he looked again,
|
||
|
as he had looked before, at the chalk writing upon the
|
||
|
coffinlid. The scrawl was this simple one, " Fanny
|
||
|
Robin and child." Gabriel took his handkerchief and
|
||
|
carefully rubbed out the two latter words, leaving visible
|
||
|
the inscription "Fanny Robin" only. He then left the
|
||
|
room, and went out quietly by the front door.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLIII
|
||
|
|
||
|
|
||
|
|
||
|
FANNY'S REVENGE
|
||
|
|
||
|
|
||
|
"DO you want me any longer ma'am? " inquired Liddy,
|
||
|
at a later hour the same evening, standing by the door
|
||
|
with a chamber candlestick in her hand and addressing
|
||
|
Bathsheba, who sat cheerless and alone in the large
|
||
|
parlour beside the first fire of the season.
|
||
|
"No more to-night, Liddy."
|
||
|
"I'll sit up for master if you like, ma'am. I am not
|
||
|
at all afraid of Fanny, if I may sit in my own room and
|
||
|
have a candle. She was such a childlike, nesh young
|
||
|
thing that her spirit couldn't appear to anybody if it
|
||
|
tried, I'm quite sure."
|
||
|
"O no, no! You go to bed. I'll sit up for him
|
||
|
myself till twelve o'clock, and if he has not arrived by
|
||
|
that time, I shall give him up and go to bed too."
|
||
|
It is half-past ten now."
|
||
|
"Oh! is it?"
|
||
|
Why don't you sit upstairs, ma'am?"
|
||
|
"Why don't I?" said Bathsheba, desultorily. "It
|
||
|
isn't worth while -- there's a fire here, Liddy." She
|
||
|
suddenly exclaimed in an impulsive and excited whisper,
|
||
|
Have you heard anything strange said of Fanny?"
|
||
|
The words had no sooner escaped her than an expres-
|
||
|
sion of unutterable regret crossed her face, and she
|
||
|
burst into tears.
|
||
|
"No -- not a word!" said Liddy, looking at the
|
||
|
weeping woman with astonishment. "What is it makes
|
||
|
you cry so, ma'am; has anything hurt you?" She came
|
||
|
to Bathsheba's side with a face full of sympathy.
|
||
|
"No, Liddy-i don't want you any more. I can
|
||
|
hardly say why I have taken to crying lately: I never
|
||
|
used to cry. Good-night."
|
||
|
Liddy then left the parlour and closed the door.
|
||
|
Bathsheba was lonely and miserable now; not lone-
|
||
|
lier actually than she had been before her marriage;
|
||
|
but her loneliness then was to that of the present time
|
||
|
as the solitude of a mountain is to the solitude of a
|
||
|
cave. And within the last day or two had come these
|
||
|
disquieting thoughts about her husband's past. Her
|
||
|
wayward sentiment that evening concerning Fanny's
|
||
|
temporary resting-place had been the result of a strange
|
||
|
complication of impulses in Bathsheba's bosom. Per-
|
||
|
haps it would be more accurately described as a
|
||
|
determined rebellion against her prejudices, a revulsion
|
||
|
from a lower instinct of uncharitableness, which would
|
||
|
have withheld all sympathy from the dead woman, be-
|
||
|
cause in life she had preceded Bathsheba in the atten-
|
||
|
tions of a man whom Bathsheba had by no means
|
||
|
ceased from loving, though her love was sick to death
|
||
|
just now with the gravity of a further misgiving.
|
||
|
In five or ten minutes there was another tap at the
|
||
|
door. Liddy reappeared, and coming in a little way
|
||
|
stood hesitating, until at length she said,!Maryann has
|
||
|
just heard something very strange, but I know it isn't
|
||
|
true. And we shall be sure to know the rights of it in
|
||
|
a day or two."
|
||
|
"What is it?"
|
||
|
"Oh, nothing connected with you or us, ma'am. It
|
||
|
is about Fanny. That same thing you have heard."
|
||
|
"I have heard nothing."
|
||
|
"I mean that a wicked story is got to Weatherbury
|
||
|
within this last hour -- that -- --" Liddy came close to
|
||
|
her mistress and whispered the remainder of the sentence
|
||
|
slowly into her ear, inclining her head as she spoke in
|
||
|
the direction of the room where Fanny lay.
|
||
|
Bathsheba trembled from head to foot.
|
||
|
"I don't believe it!" she said, excitedly. "And
|
||
|
there's only one name written on the coffin-cover."
|
||
|
"Nor I, ma'am. And a good many others don't;
|
||
|
for we should surely have been told more about it if it
|
||
|
had been true -- don't you think so, ma'am?"
|
||
|
"We might or we might not."
|
||
|
Bathsheba turned and looked into the fire, that
|
||
|
Liddy might not see her face. Finding that her mistress
|
||
|
was going to say no more, Liddy glided out, closed the
|
||
|
door softly, and went to bed.
|
||
|
Bathsheba's face, as she continued looking into the
|
||
|
fire that evening, might have excited solicitousness on
|
||
|
her account even among those who loved her least.
|
||
|
The sadness of Fanny Robin's fate did not make Bath-
|
||
|
sheba's glorious, although she was the Esther to this
|
||
|
poor Vashti, and their fates might be supposed to stand
|
||
|
in some respects as contrasts to each other. When
|
||
|
Liddy came into the room a second time the beautiful
|
||
|
eyes which met hers had worn a listless, weary look-
|
||
|
When she went out after telling the story they had ex-
|
||
|
pressed wretchedness in full activity. Her simple
|
||
|
country nature, fed on old-fashioned principles, was
|
||
|
troubled by that which would have troubled a woman
|
||
|
of the world very little, both Fanny and her child, if she
|
||
|
had one, being dead.
|
||
|
Bathsheba had grounds for conjecturing a connection
|
||
|
between her own history and the dimly suspected
|
||
|
tragedy of Fanny's end which Oak and Boldwood never
|
||
|
for a moment credited her with possessing. The
|
||
|
meeting with the lonely woman on the previous Saturday
|
||
|
night had been unwitnessed and unspoken of. Oak
|
||
|
may have had the best of intentions in withholding for
|
||
|
as many days as possible the details of what had
|
||
|
happened to Fanny; but had he known that Bathsheba's
|
||
|
perceptions had already been exercised in the matter,
|
||
|
he would have done nothing to lengthen the minutes of
|
||
|
suspense she was now undergoing, when the certainty
|
||
|
which must terminate it would be the worst fact suspected
|
||
|
after all.
|
||
|
She suddenly felt a longing desire to speak to some
|
||
|
one stronger than herself, and so get strength to sustain
|
||
|
her surmised position with dignity and her lurking
|
||
|
doubts with stoicism. Where could she find such a
|
||
|
friend? nowhere in the house. She was by far the
|
||
|
coolest of the women under her roof. Patience and
|
||
|
suspension of judgement for a few hours were what she
|
||
|
wanted to learn, and there was nobody to teach her.
|
||
|
Might she but go to Gabriel Oak! -- but that could not
|
||
|
be. What a way Oak had, she thought, of enduring
|
||
|
things. Boldwood, who seemed so much deeper and
|
||
|
higher and stronger in feeling than Gabriel, had not
|
||
|
yet learnt, any more than she herself, the simple
|
||
|
lesson which Oak showed a mastery of by every turn
|
||
|
and look he gave -- that among the multitude of interests
|
||
|
by which he was surrounded, those which affected his
|
||
|
personal wellbeing were not the most absorbing and
|
||
|
important in his eyes. Oak meditatively looked upon
|
||
|
the horizon of circumstances without any special regard
|
||
|
to his own standpoint in the midst. That was how
|
||
|
she would wish to be. But then Oak was not racked
|
||
|
by incertitude upon the inmost matter of his bosom, as
|
||
|
she was at this moment. Oak knew all about Fanny
|
||
|
that he wished to know -- she felt convinced of that.
|
||
|
If she were to go to him now at once and say no more
|
||
|
than these few words,!What is the truth of the story?"
|
||
|
he would feel bound in honour to tell her. It would
|
||
|
be an inexpressible relief. No further speech would
|
||
|
need to be uttered. He knew her so well that no
|
||
|
eccentricity of behaviour in her would alarm him.
|
||
|
She flung a cloak round her, went to the door and
|
||
|
opened it. Every blade, every twig was still. The air
|
||
|
was yet thick with moisture, though somewhat less dense
|
||
|
than during the afternoon, and a steady smack of drops
|
||
|
upon the fallen leaves under the boughs was almost
|
||
|
musical in its soothing regularity. lt seemed better to
|
||
|
be out of the house than within it, and Bathsheba closed
|
||
|
the door, and walked slowly down the lane till she came
|
||
|
opposite to Gabriel's cottage, where he now lived alone,
|
||
|
having left Coggan's house through being pinched for
|
||
|
room. There was a light in one window only', and that
|
||
|
was downstairs. The shutters were not closed, nor was
|
||
|
any blind or curtain drawn over the window, neither
|
||
|
robbery nor observation being a contingency which could
|
||
|
do much injury to the occupant of the domicile. Yes,
|
||
|
it was Gabriel himself who was sitting up: he was reading,
|
||
|
From her standing-place in the road she could see him
|
||
|
plainly, sitting quite still, his light curly head upon his
|
||
|
hand, and only occasionally looking up to snuff the
|
||
|
candle which stood beside him. At length he looked
|
||
|
at the clock, seemed surprised at the lateness of the
|
||
|
hour, closed his book, and arose. He was going to bed,
|
||
|
she knew, and if she tapped it must be done at once.
|
||
|
Alas for her resolve! She felt she could not do it,
|
||
|
Not for worlds now could she give a hint about her
|
||
|
misery to him, much less ask him plainly for information
|
||
|
on the cause of Fanny's death. She must suspect, and
|
||
|
guess, and chafe, and bear it all alone.
|
||
|
Like a homeless wanderer she lingered by the bank,
|
||
|
as if lulled and fascinated by the atmosphere of content
|
||
|
which seemed to spread from that little dwelling, and
|
||
|
was so sadly lacking in her own. Gabriel appeared in
|
||
|
an upper room, placed his light in the window-bench,
|
||
|
and then -- knelt down to pray. The contrast of the
|
||
|
picture with her rebellious and agitated existence at this
|
||
|
same time was too much for her to bear to look upon
|
||
|
longer. It was not for her to make a truce with
|
||
|
trouble by any such means. She must tread her giddy
|
||
|
distracting measure to its last note, as she had begun it.
|
||
|
With a swollen heart she went again up the lane, and
|
||
|
entered her own door.
|
||
|
More fevered now by a reaction from the first feelings
|
||
|
which Oak's example had raised in her, she paused in
|
||
|
the hall, looking at the door of the room wherein Fanny
|
||
|
lay. She locked her fingers, threw back her head, and
|
||
|
strained her hot hands rigidly across her forehead, saying,
|
||
|
with a hysterical sob, "Would to God you would speak
|
||
|
and tell me your secret, Fanny! . , . O, I hope, hope
|
||
|
it is not true that there are two of you! ... If I could
|
||
|
only look in upon you for one little minute, I should
|
||
|
know all!"
|
||
|
A few moments passed, and she added, slowly, "And
|
||
|
I will"
|
||
|
Bathsheba in after times could never gauge the mood
|
||
|
which carried her through the actions following this
|
||
|
murmured resolution on this memorable evening of her
|
||
|
life. She went to the lumber-closet for a screw-driver.
|
||
|
At the end of a short though undefined time she found
|
||
|
herself in the small room, quivering with emotion, a mist
|
||
|
before her eyes, and an excruciating pulsation in her
|
||
|
brain, standing beside the uncovered coffin of the girl
|
||
|
whose conjectured end had so entirely engrossed her, and
|
||
|
saying to herself in a husky voice as she gazed within --
|
||
|
"It was best to know the worst, and I know it now!"
|
||
|
She was conscious of having brought about this
|
||
|
situation by a series of actions done as by one in an
|
||
|
extravagant dream; of following that idea as to method,
|
||
|
which had burst upon her in the hall with glaring
|
||
|
obviousness, by gliding to the top of the stairs, assuring
|
||
|
herself by listening to the heavy breathing of her maids
|
||
|
that they were asleep, gliding down again, turning the
|
||
|
handle of the door within which the young girl lay, and
|
||
|
deliberately setting herself to do what, if she had antici-
|
||
|
pated any such undertaking at night and alone, would
|
||
|
have horrified her, but which, when done, was not so
|
||
|
dreadful as was the conclusive proof of her husband's
|
||
|
conduct which came with knowing beyond doubt the
|
||
|
last chapter of Fanny's story.
|
||
|
Bathsheba's head sank upon her bosom, and the
|
||
|
breath which had been bated in suspense, curiosity, and
|
||
|
interest, was exhaled now in the form of a whispered
|
||
|
wail: "Oh-h-h!" she said, and the silent room added
|
||
|
length to her moan.
|
||
|
Her tears fell fast beside the unconscious pair in the
|
||
|
coffin: tears of a complicated origin, of a nature inde-
|
||
|
scribable, almost indefinable except as other than those
|
||
|
of simple sorrow. Assuredly their wonted fires must
|
||
|
have lived in Fanny's ashes when events were so shaped
|
||
|
as to chariot her hither in this natural, unobtrusive, yet
|
||
|
effectual manner. The one feat alone -- that of dying --
|
||
|
by which a mean condition could be resolved into a
|
||
|
grand one, Fanny had achieved. And to that had
|
||
|
destiny subjoined this rencounter to-night, which had,
|
||
|
in Bathsheba's wild imagining, turned her companion's
|
||
|
failure to success, her humiliation to triumph, her luck-
|
||
|
lessness to ascendency; et had thrown over herself a
|
||
|
garish light of mockery, and set upon all things about
|
||
|
her an ironical smile.
|
||
|
Fanny's face was framed in by that yellow hair of
|
||
|
hers; and there was no longer much room for doubt as
|
||
|
to the origin of the curl owned by Troy. In Bath-
|
||
|
sheba's heated fancy the innocent white countenance
|
||
|
expressed a dim triumphant consciousness of the pain
|
||
|
she was retaliating for her pain with all the merciless
|
||
|
rigour of the Mosaic law: "Burning for burning; wound
|
||
|
for wound: strife for strife.
|
||
|
Bathsheba indulged in contemplations of escape from
|
||
|
her position by immediate death, which thought she,
|
||
|
though it was an inconvenient and awful way, had limits
|
||
|
to its inconvenience and awfulness that could not be
|
||
|
overpassed; whilst the shames of life were measureless.
|
||
|
Yet even this scheme of extinction by death was out
|
||
|
tamely copying her rival's method without the reasons
|
||
|
which had glorified it in her rival's case. She glided
|
||
|
rapidly up and down the room, as was mostly her habit
|
||
|
hen excited, her hands hanging clasped in front of her,
|
||
|
as she thought and in part expressed in broken words:
|
||
|
O, I hate her, yet I don't mean that I hate her, for
|
||
|
it is grievous and wicked; and yet I hate her a little!
|
||
|
yes, my flesh insists upon hating her, whether my spirit
|
||
|
is willing or no!... If she had only lived, I could
|
||
|
ave been angry and cruel towards her with some justifi-
|
||
|
cation; but to be vindictive towards a poor dead woman
|
||
|
recoils upon myself. O God, have mercy,! I am
|
||
|
miserable at all this!"
|
||
|
Bathsheba became at this moment so terrified at her
|
||
|
own state of mind that she looked around for some sort
|
||
|
of refuge from herself. The vision of Oak kneeling
|
||
|
down that night recurred to her, and with the imitative
|
||
|
instinct which animates women she seized upon the idea,
|
||
|
resolved to kneel, and, if possible, pray. Gabriel had
|
||
|
prayed; so would she.
|
||
|
She knelt beside the coffin, covered her face with her
|
||
|
hands, and for a time the room was silent as a tomb.
|
||
|
whether from a purely mechanical, or from any other
|
||
|
cause, when Bathsheba arose it was with a quieted spirit,
|
||
|
and a regret for the antagonistic instincts which had
|
||
|
seized upon her just before.
|
||
|
In her desire to make atonement she took flowers
|
||
|
from a vase by the window, and began laying them
|
||
|
around the dead girl's head. Bathsheba knew no other
|
||
|
way of showing kindness to persons departed than by
|
||
|
giving them flowers. She knew not how long she
|
||
|
remained engaged thus. She forgot time, life, where
|
||
|
she was, what she was doing. A slamming together of
|
||
|
the coach-house doors in the yard brought her to her-
|
||
|
self again. An instant after, the front door opened and
|
||
|
closed, steps crossed the hall, and her husband appeared
|
||
|
at the entrance to the room, looking in upon her.
|
||
|
He beheld it all by degrees, stared in stupefaction at
|
||
|
the scene, as if he thought it an illusion raised by some
|
||
|
fiendish
|
||
|
incantation. Bathsheba, pallid as a corpse on
|
||
|
end, gazed back at him in the same wild way.
|
||
|
So little are instinctive guesses the fruit of a legitimate
|
||
|
induction, that at this moment, as he stood with the
|
||
|
door in his hand, Troy never once thought of Fanny in
|
||
|
connection with what he saw. His first confused idea
|
||
|
was that somebody in the house had died.
|
||
|
"Well -- what?" said Troy, blankly.
|
||
|
"I must go! I must go!" said Bathsheba, to herself
|
||
|
more than to him. She came with a dilated eye towards
|
||
|
the door, to push past him.
|
||
|
"What's the matter, in God's name? who's dead?"
|
||
|
said Troy.
|
||
|
"I cannot say; let me go out. I want air!" she
|
||
|
continued.
|
||
|
"But no; stay, I insist!" He seized her hand, and
|
||
|
then volition seemed to leave her, and she went off into
|
||
|
a state of passivity. He, still holding her, came up the
|
||
|
room, and thus, hand in hand, Troy and Bathsheba
|
||
|
approached the coffin's side.
|
||
|
The candle was standing on a bureau close by them,
|
||
|
and the light slanted down, distinctly enkindling the
|
||
|
cold features of both mother and babe. Troy looked
|
||
|
in, dropped his wife's hand, knowledge of it all came
|
||
|
over him in a lurid sheen, and he stood still.
|
||
|
So still he remained that he could be imagined to
|
||
|
have left in him no motive power whatever. The
|
||
|
clashes of feeling in all directions confounded one
|
||
|
another, produced a neutrality, and there was motion in
|
||
|
none.
|
||
|
"Do you know her?" said Bathsheba, in a small
|
||
|
enclosed echo, as from the interior of a cell.
|
||
|
"I do." said Troy.
|
||
|
"Is it she?"
|
||
|
"It is."
|
||
|
He had originally stood perfectly erect. And now,
|
||
|
in the wellnigh congealed immobility of his frame
|
||
|
could be discerned an incipient movement, as in the
|
||
|
darkest night may be discerned light after a while.
|
||
|
He was gradually sinking forwards. The lines of his
|
||
|
features softened, and dismay modulated to illimitable
|
||
|
sadness. Bathsheba was regarding him from the other
|
||
|
side, still with parted lips and distracted eyes. Capacity
|
||
|
for intense feeling is proportionate to the general
|
||
|
intensity of the nature ,and perhaps in all Fanny's
|
||
|
sufferings, much greater relatively to her strength, there
|
||
|
never was a time she suffered in an absolute sense
|
||
|
what Bathsheba suffered now.
|
||
|
What Troy did was to sink upon his knees with
|
||
|
an indefinable union of remorse and reverence upon
|
||
|
his face, and, bending over Fanny Robin, gently kissed
|
||
|
her, as one would kiss an infant asleep to avoid
|
||
|
awakening it.
|
||
|
At the sight and sound of that, to her, unendurable
|
||
|
act, Bathsheba sprang towards him. All the strong
|
||
|
feelings which had been scattered over her existence
|
||
|
since she knew what feeling was, seemed gathered
|
||
|
together into one pulsation now. The revulsion from
|
||
|
her indignant mood a little earlier, when she had
|
||
|
meditated upon compromised honour, forestalment,
|
||
|
eclipse in maternity by another, was violent and entire.
|
||
|
All that was forgotten in the simple and still strong
|
||
|
attachment of wife to husband. She had sighed for
|
||
|
her self-completeness then, and now she cried aloud
|
||
|
against the severance of the union she had deplored.
|
||
|
She flung her arms round Troy's neck, exclaiming wildly
|
||
|
from the deepest deep of her heart --
|
||
|
"Don't -- don't kiss them! O, Frank, I can"t bear
|
||
|
it-i can't! I love you better than she did: kiss me
|
||
|
too, Frank -- kiss me! You will, Frank, kiss me too!"
|
||
|
There was something so abnormal and startling in
|
||
|
the childlike pain and simplicity of this appeal from a
|
||
|
woman of Bathsheba's calibre and independence, that
|
||
|
Troy, loosening her tightly clasped arms from his neck,
|
||
|
looked at her in bewilderment. It was such and unex-
|
||
|
pected revelation of all women being alike at heart, even
|
||
|
those so different in their accessories as Fanny and this
|
||
|
one beside him, that Troy could hardly seem to believe
|
||
|
her to be his proud wife Bathsheba. Fanny's own
|
||
|
spirit seemed to be animating her frame. But this was
|
||
|
the mood of a few instants only. When the momentary
|
||
|
"I will not kiss you!" he said pushing her away.
|
||
|
Had the wife now but gone no further. Yet,
|
||
|
perhaps. under the harrowing circumstances, to speak
|
||
|
out was the one wrong act which can be better under-
|
||
|
stood, if not forgiven in her, than the right and politic
|
||
|
one, her rival being now but a corpse. All the feeling
|
||
|
she had been betrayed into showing she drew back to
|
||
|
herself again by a strenuous effort of self-command.
|
||
|
"What have you to say as your reason?" she asked
|
||
|
her bitter voice being strangely low -- quite that of
|
||
|
another woman now.
|
||
|
"I have to say that I have been a bad, black-hearted
|
||
|
man." he answered.
|
||
|
less than she."
|
||
|
"Ah! don't taunt me, madam. This woman is more
|
||
|
to me, dead as she is, than ever you were, or are, or can
|
||
|
be. If Satan had not tempted me with that face of
|
||
|
yours, and those cursed coquetries, I should have
|
||
|
He turned to Fanny then. "But never mind, darling,
|
||
|
wife!"
|
||
|
At these words there arose from Bathsheba's lips a
|
||
|
long, low cry of measureless despair and indignation,
|
||
|
such a wail of anguish as had never before been heard
|
||
|
within those old-inhabited walls. It was the product*
|
||
|
of her union with Troy.
|
||
|
"If she's -- that, -- what -- am I?" she added, as a
|
||
|
continuation of the same cry, and sobbing pitifully:
|
||
|
and the rarity with her of such abandonment only made
|
||
|
the condition more dire.
|
||
|
"You are nothing to me -- nothing." said Troy,
|
||
|
heartlessly. "A ceremony before a priest doesn't make
|
||
|
a marriage. I am not morally yours."
|
||
|
A vehement impulse to flee from him, to run from
|
||
|
this place, hide, and escape his words at any price, not
|
||
|
stopping short of death itself, mastered Bathsheba now.
|
||
|
She waited not an instant, but turned to the door and
|
||
|
ran out.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLIV
|
||
|
|
||
|
|
||
|
|
||
|
UNDER A TREE -- REACTION
|
||
|
|
||
|
|
||
|
BATHSHEBA went along the dark road, neither know-
|
||
|
ing nor caring about the direction or issue of her flight.
|
||
|
The first time that she definitely noticed her position
|
||
|
was when she reached a gate leading into a thicket over-
|
||
|
hung by some large oak and beech trees. On looking
|
||
|
into the place, it occurred to her that she had seen it
|
||
|
by daylight on some previous occasion, and that what
|
||
|
appeared like an impassable thicket was in reality a
|
||
|
brake of fern now withering fast. She could think of
|
||
|
nothing better to do with her palpitating self than to go
|
||
|
in here and hide; and entering, she lighted on a spot
|
||
|
sheltered from the damp fog by a reclining trunk, where
|
||
|
she sank down upon a tangled couch of fronds and
|
||
|
stems. She mechanically pulled some armfuls round
|
||
|
her to keep off the breezes, and closed her eyes.
|
||
|
Whether she slept or not that night Bathsheba was
|
||
|
not clearly aware. But it was with a freshened exist-
|
||
|
ence and a cooler brain that, a long time afterwards, she
|
||
|
became conscious of some interesting proceedings which
|
||
|
were going on in the trees above her head and around.
|
||
|
A coarse-throated chatter was the first sound.
|
||
|
It was a sparrow just waking.
|
||
|
Next: "Chee-weeze-weeze-weeze!" from another
|
||
|
retreat.
|
||
|
It was a finch.
|
||
|
Third: "Tink-tink-tink-tink-a-chink!" from the hedge,
|
||
|
It was a robin.
|
||
|
"Chuck-chuck-chuck!" overhead.
|
||
|
A squirrel.
|
||
|
Then, from the road, "With my ra-ta-ta, and my
|
||
|
rum-tum-tum!"
|
||
|
It was a ploughboy. Presently he came opposite,
|
||
|
and she believed from his voice that he was one of
|
||
|
the boys on her own farm. He was followed by a
|
||
|
shambling tramp of heavy feet, and looking through
|
||
|
the ferns Bathsheba could just discern in the wan light
|
||
|
of daybreak a team of her own horses. They stopped
|
||
|
to drink at a pond on the other side of the way'. She
|
||
|
watched them flouncing into the pool, drinking, tossing
|
||
|
up their heads, drinking again, the water dribbling
|
||
|
from their lips in silver threads. There was another
|
||
|
flounce, and they came out of the pond, and turned
|
||
|
back again towards the farm.
|
||
|
She looked further around. Day was just dawning,
|
||
|
and beside its cool air and colours her heated actions
|
||
|
and resolves of the night stood out in lurid contrast.
|
||
|
She perceived that in her lap, and clinging to her
|
||
|
hair, were red and yellow leaves which had come
|
||
|
down from the tree and settled silently upon her
|
||
|
during her partial sleep. Bathsheba shook her dress to
|
||
|
get rid of them, when multitudes of the same family lying
|
||
|
round about her rose and fluttered away in the breeze
|
||
|
thus created, like ghosts from an enchanter fleeing."
|
||
|
There was an opening towards the east, and the
|
||
|
glow from the as yet unrisen sun attracted her eyes
|
||
|
thither. From her feet, and between the beautiful
|
||
|
yellowing ferns with their feathery arms, the ground
|
||
|
sloped downwards to a hollow, in which was a species
|
||
|
of swamp, dotted with fungi. A morning mist hung
|
||
|
over it now -- a fulsome yet magnificent silvery veil,
|
||
|
full of light from the sun, yet semi-opaque -- the hedge
|
||
|
behind it being in some measure hidden by its hazy
|
||
|
luminousness. Up the sides of this depression grew
|
||
|
sheaves of the common rush, and here and there a
|
||
|
peculiar species of flag, the blades of which glistened
|
||
|
in the emerging sun, like scythes. But the general
|
||
|
aspect of the swamp was malignant. From its moist
|
||
|
and poisonous coat seemed to be exhaled the essences
|
||
|
of evil things in the earth, and in the waters under
|
||
|
the earth. The fungi grew in all manner of positions
|
||
|
from rotting leaves and tree stumps, some exhibiting
|
||
|
to her listless gaze their clammy tops, others their
|
||
|
oozing gills. Some were marked with great splotches,
|
||
|
red as arterial blood, others were saffron yellow, and
|
||
|
others tall and attenuated, with stems like macaroni.
|
||
|
Some were leathery and of richest browns. The
|
||
|
hollow seemed a nursery of pestilences small and
|
||
|
great, in the immediate neighbourhood of comfort
|
||
|
and health, and Bathsheba arose with a tremor at the
|
||
|
thought of having passed the night on the brink of
|
||
|
so dismal a place.
|
||
|
"There were now other footsteps to be heard along
|
||
|
the road. Bathsheba's nerves were still unstrung:
|
||
|
she crouched down out of sight again, and the pedes-
|
||
|
trian came into view. He was a schoolboy, with a
|
||
|
bag slung over his shoulder containing his dinner,
|
||
|
and a hook in his hand. He paused by the gate,
|
||
|
and, without looking up, continued murmuring words
|
||
|
in tones quite loud enough to reach her ears.
|
||
|
"O Lord, O Lord, O Lord, O Lord, O Lord": --
|
||
|
that I know out o' book. "Give us, give us, give us,
|
||
|
give us, give us": -- that I know. "Grace that, grace that,
|
||
|
grace that, grace that": -- that I know." Other words
|
||
|
followed to the same effect. The boy was of the
|
||
|
dunce class apparently; the book was a psalter, and
|
||
|
this was his way of learning the collect. In the worst
|
||
|
attacks of trouble there appears to be always a super-
|
||
|
ficial film of consciousness which is left disengaged
|
||
|
and open to the notice of trifles, and Bathsheba was
|
||
|
faintly amused at the boy's method, till he too passed on.
|
||
|
By this time stupor had given place to anxiety, and
|
||
|
anxiety began to make room for hunger and thirst.
|
||
|
A form now appeared upon the rise on the other side
|
||
|
of the swamp, half-hidden by the mist, and came
|
||
|
towards Bathsheba. The woman -- for it was a woman
|
||
|
-- approached with her face askance, as if looking
|
||
|
earnestly on all sides of her. When she got a little
|
||
|
further round to the left, and drew nearer, Bathsheba
|
||
|
could see the newcomer's profile against the sunny
|
||
|
sky', and knew the wavy sweep from forehead to chin,
|
||
|
with neither angle nor decisive line anywhere about
|
||
|
it, to be the familiar contour of Liddy Smallbury.
|
||
|
Bathsheba's heart bounded with gratitude in the
|
||
|
thought that she was not altogether deserted, and she
|
||
|
jumped up. "O, Liddy!" she said, or attempted to say;
|
||
|
but the words had only been framed by her lips; there
|
||
|
came no sound. She had lost her voice by exposure
|
||
|
to the clogged atmosphere all these hours of night.
|
||
|
"O, ma'am! I am so glad I have found you." said
|
||
|
the girl, as soon as she saw Bathsheba.
|
||
|
"You can't come across." Bathsheba said in a whisper,
|
||
|
which she vainly endeavoured to make loud enough to
|
||
|
reach Liddy's ears. Liddy, not knowing this, stepped
|
||
|
down upon the swamp, saying, as she did so, "It will
|
||
|
bear me up, I think."
|
||
|
Bathsheba never forgot that transient little picture
|
||
|
of Liddy crossing the swamp to her there in the
|
||
|
morning light. Iridescent bubbles of dank subter-
|
||
|
ranean breath rose from the sweating sod beside the
|
||
|
waiting maid's feet as she trod, hissing as they burst
|
||
|
and expanded away to join the vapoury firmament above.
|
||
|
Liddy did not sink, as Bathsheba had anticipated.
|
||
|
She landed safely on the other side, and looked up
|
||
|
at the beautiful though pale and weary face of her
|
||
|
young mistress.
|
||
|
"Poor thing!" said Liddy, with tears in her eyes,
|
||
|
Do hearten yourself up a little, ma'am. However
|
||
|
did -- -- "
|
||
|
"I can't speak above a whisper -- my voice is gone
|
||
|
for the present." said Bathsheba, hurriedly." I suppose
|
||
|
the damp air from that hollow has taken it away
|
||
|
Liddy, don't question me, mind. Who sent you --
|
||
|
anybody?"
|
||
|
"Nobody. I thought, when I found you were not
|
||
|
at home, that something cruel had happened. I fancy
|
||
|
I heard his voice late last night; and so, knowing
|
||
|
something was wrong -- -- "
|
||
|
"Is he at home?"
|
||
|
"No; he left just before I came out."
|
||
|
"Is Fanny taken away?"
|
||
|
"Not yet. She will soon be -- at nine o'clock."
|
||
|
"we won't go home at present, then. Suppose we
|
||
|
walk about in this wood?"
|
||
|
Liddy, without exactly understanding everything, or
|
||
|
anything, in this episode, assented, and they walked
|
||
|
together further among the trees.
|
||
|
"But you had better come in, ma'am, and have
|
||
|
something to eat. You will die of a chill!"
|
||
|
"I shall not come indoors yet -- perhaps never."
|
||
|
"Shall I get you something to eat, and something
|
||
|
else to put over your head besides that little shawl?"
|
||
|
"If you will, Liddy."
|
||
|
Liddy vanished, and at the end of twenty minutes
|
||
|
returned with a cloak, hat, some slices of bread and
|
||
|
butter, a tea-cup, and some hot tea in a little china jug
|
||
|
"Is Fanny gone?" said Bathsheba.
|
||
|
"No." said her companion, pouring out the tea.
|
||
|
Bathsheba wrapped herself up and ate and drank
|
||
|
sparingly. Her voice was then a little clearer, and
|
||
|
trifling colour returned to her face. "Now we'll walk
|
||
|
about again." she said.
|
||
|
They wandered about the wood for nearly two
|
||
|
hours, Bathsheba replying in monosyllables to Liddy's
|
||
|
prattle, for her mind ran on one subject, and one only.
|
||
|
She interrupted with --
|
||
|
"l wonder if Fanny is gone by this time?"
|
||
|
"I will go and see."
|
||
|
She came back with the information that the
|
||
|
men were just taking away the corpse; that Bathsheba
|
||
|
had been inquired for; that she had replied to the
|
||
|
effect that her mistress was unwell and could not be
|
||
|
seen.
|
||
|
"Then they think I am in my bedroom?"
|
||
|
"Yes." Liddy then ventured to add:" You said
|
||
|
when I first found you that you might never go home
|
||
|
again -- you didn't mean it, ma'am?"
|
||
|
"No; I've altered my mind. It is only women with
|
||
|
no pride in them who run away from their husbands.
|
||
|
There is one position worse than that of being found
|
||
|
dead in your husband's house from his ill usage, and
|
||
|
that is, to be found alive through having gone away to
|
||
|
The house of somebody else. I've thought of it all this
|
||
|
morning, and I've chosen my course. A runaway wife
|
||
|
is an encumbrance to everybody, a burden to herself and
|
||
|
a byword -- all of which make up a heap of misery
|
||
|
greater than any that comes by staying at home --
|
||
|
though this may include the trifling items of insult,
|
||
|
beating, and starvation. Liddy, if ever you marry --
|
||
|
God forbid that you ever should! -- you'll find yourself
|
||
|
in a fearful situation; but mind this, don't you flinch.
|
||
|
Stand your ground, and be cut to pieces. That's
|
||
|
what I'm going to do."
|
||
|
"O, mistress, don't talk so!" said Liddy,-taking her
|
||
|
hand; "but I knew you had too much sense to bide
|
||
|
away. May I ask what dreadful thing it is that has
|
||
|
happened between you and him?"
|
||
|
"You may ask; but I may not tell."
|
||
|
In about ten minutes they returned to the house by
|
||
|
a circuitous route, entering at the rear. Bathsheba
|
||
|
glided up the back stairs to a disused attic, and her
|
||
|
companion followed.
|
||
|
"Liddy." she said, with a lighter heart, for youth and
|
||
|
hope had begun to reassert themselves;" you are to be
|
||
|
my confidante for the present -- somebody must be -- and
|
||
|
I choose you. Well, I shall take up my abode here for
|
||
|
a while. Will you get a fire lighted, put down a piece
|
||
|
of carpet, and help me to make the place comfortable.
|
||
|
Afterwards, I want you and Maryann to bring up that
|
||
|
little stump bedstead in the small room, and the be
|
||
|
belonging to it, and a table, and some other things.
|
||
|
What shall I do to pass the heavy time away?"
|
||
|
"Hemming handkerchiefs is a very good thing." said
|
||
|
Liddy.
|
||
|
"O no, no! I hate needlework-i always did."
|
||
|
"knitting?"
|
||
|
"And that, too."
|
||
|
"You might finish your sampler. Only the carna-
|
||
|
tions and peacocks want filling in; and then it could
|
||
|
be framed and glazed, and hung beside your aunt"
|
||
|
ma'am."
|
||
|
"Samplers are out of date -- horribly countrified. No
|
||
|
Liddy, I'll read. Bring up some books -- not new ones.
|
||
|
I haven't heart to read anything new."
|
||
|
"Some of your uncle's old ones, ma'am?"
|
||
|
"Yes. Some of those we stowed away in boxes." A
|
||
|
faint gleam of humour passed over her face as she said:
|
||
|
"Bring Beaumont and Fletcher's Maid's Tragedy, and
|
||
|
the Mourning Bride, and let me see -- Night Thoughts,
|
||
|
and the Vanity of Human Wishes."
|
||
|
"And that story of the black man, who murdered his
|
||
|
wife Desdemona? It is a nice dismal one that would
|
||
|
suit you excellent just now."
|
||
|
"Now, Liddy, you've been looking into my book
|
||
|
without telling me; and I said you were not to! How
|
||
|
do you know it would suit me? It wouldn't suit me a
|
||
|
all."
|
||
|
"But if the others do -- -- "
|
||
|
"No, they don't; and I won't read dismal books.
|
||
|
Why should I read dismal books, indeed? Bring me
|
||
|
Love in a Village, and Maid of the Mill, and Doctor
|
||
|
Syntax, and some volumes of the Spectator."
|
||
|
All that day Bathsheba and Liddy lived in the attic
|
||
|
in a state of barricade; a precaution which proved to be
|
||
|
needless as against Troy, for he did not appear in the
|
||
|
neighbourhood or trouble them at all. Bathsheba sat
|
||
|
at the window till sunset, sometimes attempting to read,
|
||
|
at other times watching every movement outside without
|
||
|
much purpose, and listening without much interest to
|
||
|
every sound.
|
||
|
The sun went down almost blood-red that night, and
|
||
|
a livid cloud received its rays in the east. Up against
|
||
|
this dark background the west front of the church
|
||
|
tower -- the only part of the edifice visible from the
|
||
|
farm-house windows -- rose distinct and lustrous, the
|
||
|
vane upon the summit bristling with rays. Hereabouts,
|
||
|
at six o'clock, the young men of the village gathered,
|
||
|
as was their custom, for a game of Prisoners' base. The
|
||
|
spot had been consecrated to this ancient diversion from
|
||
|
time immemorial, the old stocks conveniently forming
|
||
|
a base facing the boundary of the churchyard, in front
|
||
|
of which the ground was trodden hard and bare as a
|
||
|
pavement by the players. She could see the brown
|
||
|
and black heads of the young lads darting about right
|
||
|
and left, their white shirt-sleeves gleaming in the sun;
|
||
|
whilst occasionally a shout and a peal of hearty laughter
|
||
|
varied the stillness of the evening air. They continued
|
||
|
playing for a quarter of an hour or so, when the game
|
||
|
concluded abruptly, and the players leapt over the wall
|
||
|
and vanished round to the other side behind a yew-tree,
|
||
|
which was also half behind a beech, now spreading in
|
||
|
one mass of golden foliage, on which the branches
|
||
|
traced black lines.
|
||
|
"Why did the base-players finish their game so
|
||
|
suddenly?" Bathsheba inquired, the next time that
|
||
|
Liddy entered the room.
|
||
|
"I think 'twas because two men came just then from
|
||
|
Casterbridge and began putting up grand carved
|
||
|
tombstone." said Liddy. "The lads went to see whose
|
||
|
it was."
|
||
|
"Do you know?" Bathsheba asked.
|
||
|
"I don't." said Liddy.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLV
|
||
|
|
||
|
|
||
|
|
||
|
TROY'S ROMANTICISM
|
||
|
|
||
|
|
||
|
WHEN Troy's wife had left the house at the previous
|
||
|
midnight his first act was to cover the dead from sight.
|
||
|
This done he ascended the stairs, and throwing himself
|
||
|
down upon the bed dressed as he was, he waited miser-
|
||
|
ably for the morning.
|
||
|
Fate had dealt grimly with him through the last four-
|
||
|
and-twenty hours. His day had been spent in a way
|
||
|
which varied very materially from his intentions regard-
|
||
|
ing it. There is always an inertia to be overcome in
|
||
|
striking out a new line of conduct -- not more in our-
|
||
|
selves, it seems, than in circumscribing events, which
|
||
|
appear as if leagued together to allow no novelties in
|
||
|
the way of amelioration.
|
||
|
Twenty pounds having been secured from Bathsheba,
|
||
|
he had managed to add to the sum every farthing he
|
||
|
could muster on his own account, which had been seven
|
||
|
pounds ten. With this money, twenty-seven pounds ten
|
||
|
in all, he had hastily driven from the gate that morning
|
||
|
to keep his appointment with Fanny Robin.
|
||
|
On reaching Casterbridge he left the horse and trap
|
||
|
at an inn, and at five minutes before ten came back to
|
||
|
the bridge at the lower end of the town, and sat himself
|
||
|
upon the parapet. The clocks struck the hour, and no
|
||
|
Fanny appeared. In fact, at that moment she was being
|
||
|
robed in her grave-clothes by two attendants at the
|
||
|
Union poorhouse -- the first and last tiring-women the
|
||
|
gentle creature had ever been honoured with. The
|
||
|
quarter went, the half hour. A rush of recollection
|
||
|
came upon Troy as he waited: this was the second
|
||
|
time she had broken a serious engagement with him
|
||
|
In anger he vowed it should be the last, and at eleven
|
||
|
o'clock, when he had lingered and watched the stone
|
||
|
of the bridge till he knew every lichen upon their face
|
||
|
and heard the chink of the ripples underneath till they
|
||
|
oppressed him, he jumped from his seat, went to the inn
|
||
|
for his gig, and in a bitter mood of indifference con-
|
||
|
cerning the past, and recklessness about the future,
|
||
|
drove on to Budmouth races.
|
||
|
He reached the race-course at two o'clock, and re-
|
||
|
mained either there or in the town till nine, But
|
||
|
Fanny's image, as it had appeared to him in the sombre
|
||
|
shadows of that Saturday evening, returned to his mind,
|
||
|
backed up by Bathsheba's reproaches. He vowed he
|
||
|
would not bet, and he kept his vow, for on leaving the
|
||
|
town at nine o'clock in the evening he had diminish
|
||
|
his cash only to the extent of a few shillings.
|
||
|
He trotted slowly homeward, and it was now that
|
||
|
was struck for the first time with a thought that Fanny
|
||
|
had been really prevented by illness from keeping her
|
||
|
promise. This time she could have made no mistake
|
||
|
He regretted that he had not remained in Casterbridge
|
||
|
and made inquiries. Reaching home he quietly un-
|
||
|
harnessed the horse and came indoors, as we have seen,
|
||
|
to the fearful shock that awaited him.
|
||
|
As soon as it grew light enough to distinguish objects,
|
||
|
Troy arose from the coverlet of the bed, and in a mood
|
||
|
of absolute indifference to Bathsheba's whereabouts, a
|
||
|
almost oblivious of her existence, he stalked downstairs
|
||
|
and left the house by the back door. His walk was
|
||
|
towards the churchyard, entering which he searched
|
||
|
around till he found a newly dug unoccupied grave --
|
||
|
the grave dug the day before for Fanny. The position
|
||
|
of this having been marked, he hastened on to Caster-
|
||
|
bridge, only pausing
|
||
|
whereon he had last seen Fanny alive.
|
||
|
Reaching the town, Troy descended into a side
|
||
|
street and entered a pair of gates surmounted by a board
|
||
|
bearing the words, "Lester, stone and marble mason."
|
||
|
Within were lying about stones of all sizes and designs,
|
||
|
inscribed as being sacred to the memory of unnamed
|
||
|
persons who had not yet died.
|
||
|
Troy was so unlike himself now in look, word, and
|
||
|
deed, that the want of likeness was perceptible even to
|
||
|
his own consciousness. His method of engaging himself
|
||
|
in this business of purchasing a tomb was that of an
|
||
|
absolutely unpractised man. He could not bring him-
|
||
|
self to consider, calculate, or economize. He waywardly
|
||
|
wished for something, and he set about obtaining it like
|
||
|
a child in a nursery. 'I want a good tomb." he said to
|
||
|
the man who stood in a little office within the yard.
|
||
|
"I want as good a one as you can give me for twenty-
|
||
|
seven pounds,"
|
||
|
It was all the money he possessed.
|
||
|
"That sum to include everything?"
|
||
|
"Everything. Cutting the name, carriage to Weather-
|
||
|
bury, and erection. And I want it now at once ."
|
||
|
"We could not get anything special worked this
|
||
|
week.
|
||
|
"If you would like one of these in stock it could be
|
||
|
got ready immediately."
|
||
|
"Very well." said Troy, impatiently. "Let's see what
|
||
|
you have."
|
||
|
"The best I have in stock is this one," said the stone-
|
||
|
cutter, going into a shed." Here's a marble headstone
|
||
|
beautifully crocketed, with medallions beneath of typical
|
||
|
subjects; here's the footstone after the same pattern,
|
||
|
and here's the coping to enclose the- grave. The
|
||
|
slabs are the best of their kind, and I can warrant them
|
||
|
"Well, I could add the name, and put it up at
|
||
|
visitor who wore not a shred of mourning. Troy then
|
||
|
settled the account and went away. In the afternoon
|
||
|
almost done. He waited in the yard till the tomb was
|
||
|
way to Weatherbury, giving directions to the two men
|
||
|
the grave of the person named in the inscription.
|
||
|
bridge. He carried rather a heavy basket upon his
|
||
|
occasionally at bridges and gates, whereon he deposited
|
||
|
returning in the darkness, the men and the waggon
|
||
|
the work was done, and, on being assured that it was,
|
||
|
Troy entered Weatherbury churchyard about ten
|
||
|
had marked the vacant grave early in the morning. It
|
||
|
extent from the view of passers along the road -- a spot
|
||
|
and bushes of alder, but now it was cleared and made
|
||
|
the ground elsewhere.
|
||
|
Here now stood the tomb as the men had stated, snow-
|
||
|
white and shapely in the gloom, consisting of head and
|
||
|
foot-stone, and enclosing border of marble-work uniting
|
||
|
them. In the midst was mould, suitable for plants.
|
||
|
Troy deposited his basket beside the tomb, and
|
||
|
vanished for a few minutes. When he returned he
|
||
|
carried a spade and a lantern, the light of which he
|
||
|
directed for a few moments upon the marble, whilst he
|
||
|
read the inscription. He hung his lantern on the lowest
|
||
|
bough of the yew-tree, and took from his basket flower-
|
||
|
roots of several varieties. There were bundles of snow-
|
||
|
drop, hyacinth and crocus bulbs, violets and double
|
||
|
daisies, which were to bloom in early spring, and of
|
||
|
carnations, pinks, picotees, lilies of the valley, forget-me-
|
||
|
not, summer's-farewell, meadow-saffron and others, for
|
||
|
the later seasons of the year.
|
||
|
Troy laid these out upon the grass, and with an im-
|
||
|
passive face set to work to plant them. The snowdrops
|
||
|
were arranged in a line on the outside of the coping,
|
||
|
the remainder within the enclosure of the grave. The
|
||
|
crocuses and hyacinths were to grow in rows; some of
|
||
|
the summer flowers he placed over her head and feet,
|
||
|
the lilies and forget-me-nots over her heart. The
|
||
|
remainder were dispersed in the spaces between these.
|
||
|
Troy, in his prostration at this time, had no percep-
|
||
|
tion that in the futility of these romantic doings, dictated
|
||
|
by a remorseful reaction from previous indifference, there
|
||
|
was any element of absurdity. Deriving his idiosyn-
|
||
|
crasies from both sides of the Channel, he showed at
|
||
|
such junctures as the present the inelasticity of the
|
||
|
Englishman, together with that blindness to the line
|
||
|
where sentiment verges on mawkishness, characteristic
|
||
|
of the French.
|
||
|
lt was a cloudy, muggy, and very dark night, and
|
||
|
the rays from Troy's lantern spread into the two old
|
||
|
yews with a strange illuminating power, flickering, as it
|
||
|
seemed, up to the black ceiling of cloud above. He
|
||
|
felt a large drop of rain upon the back of his hand, and
|
||
|
presently one came and entered one of the holes of the
|
||
|
lantern, whereupon the candle sputtered and went out-
|
||
|
Troy was weary and it being now not far from midnight,
|
||
|
and the rain threatening to increase, he resolved to leave
|
||
|
the finishing touches of his labour until the day should
|
||
|
break. He groped along the wall and over the graves
|
||
|
in the dark till he found himself round at the north side.
|
||
|
Here he entered the porch, and, reclining upon the
|
||
|
bench within, fell asleep.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLVI
|
||
|
|
||
|
|
||
|
|
||
|
THE GURGOYLE: ITS DOINGS
|
||
|
|
||
|
|
||
|
THE tower of Weatherbury Church was a square
|
||
|
erection of fourteenth-century date, having two stone
|
||
|
gurgoyles on each of the four faces of its parapet. Of
|
||
|
these eight carved protuberances only two at this time
|
||
|
continued to serve the purpose of their erection -- that
|
||
|
of spouting the water from the lead roof within. One
|
||
|
mouth in each front had been closed by bygone church-
|
||
|
wardens as superfluous, and two others were broken
|
||
|
away and choked -- a matter not of much consequence
|
||
|
to the wellbeing of the tower, for the two mouths which
|
||
|
still remained open and active were gaping enough to do
|
||
|
all the work.
|
||
|
It has been sometimes argued that there is no truer
|
||
|
criterion of the vitality of any given art-period than the
|
||
|
power of the master-spirits of that time in grotesque;
|
||
|
and certainly in the instance of Gothic art there is no
|
||
|
disputing the proposition. Weatherbury tower was a
|
||
|
somewhat early instance of the use of an ornamental
|
||
|
parapet in parish as distinct from cathedral churches,
|
||
|
and the gurgoyles, which are the necessary correlatives
|
||
|
of a parapet, were exceptionally prominent -- of the
|
||
|
boldest cut that the hand could shape, and of the most
|
||
|
original design that a human brain could conceive.
|
||
|
There was, so to speak, that symmetry in their distortion
|
||
|
which is less the characteristic of British than of
|
||
|
Continental grotesques of the period. All the eight
|
||
|
were different from each other. A beholder was con-
|
||
|
vinced that nothing on earth could be more hideous
|
||
|
than those he saw on the north side until he went
|
||
|
round to the south. Of the two on this latter face, only
|
||
|
that at the south-eastern corner concerns the story. It
|
||
|
was too human to be called like a dragon, too impish
|
||
|
to be like a man, too animal to be like a fiend, and not
|
||
|
enough like a bird to be called a griffin. This horrible
|
||
|
stone entity was fashioned as if covered with a wrinkled
|
||
|
hide; it had short, erect ears, eyes starting from their
|
||
|
sockets, and its fingers and hands were seizing the
|
||
|
corners of its mouth, which they thus seemed to pull
|
||
|
open to give free passage to the water it vomited. The
|
||
|
lower row of teeth was quite washed away, though the
|
||
|
upper still remained. Here and thus, jutting a couple
|
||
|
of feet from the wall against which its feet rested as a
|
||
|
support, the creature had for four hundred years
|
||
|
laughed at the surrounding landscape, voicelessly in
|
||
|
dry weather, and in wet with a gurgling and snorting
|
||
|
sound.
|
||
|
Troy slept on in the porch, and the rain increased
|
||
|
outside. Presently the gurgoyle spat. In due time a
|
||
|
small stream began to trickle through the seventy feet
|
||
|
of aerial space between its mouth and the ground, which
|
||
|
the water-drops smote like duckshot in their accelerated
|
||
|
velocity. The stream thickened in substance, and in-
|
||
|
creased in power, gradually spouting further and yet
|
||
|
further from the side of the tower. When the rain fell
|
||
|
in a steady and ceaseless torrent the stream dashed
|
||
|
downward in volumes.
|
||
|
We follow its course to the ground at this point of
|
||
|
time. The end of the liquid parabola has come forward
|
||
|
from the wall, has advanced over the plinth mouldings,
|
||
|
over a heap of stones, over the marble border, into the
|
||
|
midst of Fanny Robin's grave.
|
||
|
The force of the stream had, until very lately, been
|
||
|
received upon some loose stones spread thereabout,
|
||
|
which had acted as a shield to the soil under the onset.
|
||
|
These during the summer had been cleared from the
|
||
|
ground, and there was now nothing to resist the down-
|
||
|
fall but the bare earth. For several years the stream
|
||
|
had not spouted so far from the tower as it was doing
|
||
|
on this night, and such a contingency had been over-
|
||
|
looked. Sometimes this obscure corner received no
|
||
|
inhabitant for the space of two or three years, and
|
||
|
then it was usually but a pauper, a poacher, or other
|
||
|
sinner of undignified sins.
|
||
|
The persistent torrent from the gurgoyle's jaws
|
||
|
directed all its vengeance into the grave. The rich
|
||
|
tawny mould was stirred into motion, and boiled like
|
||
|
chocolate. The water accumulated and washed deeper
|
||
|
down, and the roar of the pool thus formed spread into
|
||
|
the night as the head and chief among other noises of
|
||
|
the kind created by the deluging rain. The flowers so
|
||
|
carefully planted by Fanny's repentant lover began to
|
||
|
move and writhe in their bed. The winter-violets
|
||
|
turned slowly upside down, and became a mere mat of
|
||
|
mud. Soon the snowdrop and other bulbs danced in
|
||
|
the boiling mass like ingredients in a cauldron. Plants
|
||
|
of the tufted species were loosened, rose to the surface,
|
||
|
and floated of.
|
||
|
Troy did not awake from his comfortless sleep till it
|
||
|
was broad day. Not having been in bed for two nights
|
||
|
his shoulders felt stiff his feet tender, and his head
|
||
|
heavy. He remembered his position, arose, shivered,
|
||
|
took the spade, and again went out.
|
||
|
The rain had quite ceased, and the sun was shining
|
||
|
through the green, brown, and yellow leaves, now
|
||
|
sparkling and varnished by the raindrops to the bright-
|
||
|
ness of similar effects in the landscapes of Ruysdael and
|
||
|
Hobbema, and full of all those infinite beauties that
|
||
|
arise from the union of water and colour with high
|
||
|
lights. The air was rendered so transparent by the
|
||
|
heavy fall of rain that the autumn hues of the middle
|
||
|
distance were as rich as those near at hand, and the
|
||
|
remote fields intercepted by the angle of the tower ap-
|
||
|
peared in the same plane as the tower itself.
|
||
|
He entered the gravel path which would take him
|
||
|
behind the tower. The path, instead of being stony as
|
||
|
it had been the night before, was browned over with a
|
||
|
thin coating of mud. At one place in the path he saw
|
||
|
a tuft of stringy roots washed white and clean as a
|
||
|
bundle of tendons. He picked it up -- surely it could
|
||
|
not be one of the primroses he had planted? He saw
|
||
|
a bulb, another, and another as he advanced. Beyond
|
||
|
doubt they were the crocuses. With a face of perplexed
|
||
|
dismay Troy turned the corner and then beheld the
|
||
|
wreck the stream had made.
|
||
|
The pool upon the grave had soaked away into the
|
||
|
ground, and in its place was a hollow. The disturbed
|
||
|
earth was washed over the grass and pathway in the
|
||
|
guise of the brown mud he had already seen, and it
|
||
|
spotted the marble tombstone with the same stains.
|
||
|
Nearly all the flowers were washed clean out of the
|
||
|
ground, and they lay, roots upwards, on the spots whither
|
||
|
they had been splashed by the stream.
|
||
|
Troy's brow became heavily contracted. He set his
|
||
|
teeth closely, and his compressed lips moved as those of
|
||
|
one in great pain. This singular accident, by a strange
|
||
|
confluence of emotions in him, was felt as the sharpest
|
||
|
sting of all. Troy's face was very expressive, and any
|
||
|
observer who had seen him now would hardly have
|
||
|
believed him to be a man who had laughed, and sung,
|
||
|
and poured love-trifles into a woman's ear. To curse
|
||
|
his miserable lot was at first his impulse, but even that
|
||
|
lowest stage of rebellion needed an activity whose
|
||
|
absence was necessarily antecedent to the existence of the
|
||
|
morbid misery which wrung him. The sight, coming
|
||
|
as it did, superimposed upon the other dark scenery of
|
||
|
the previous days, formed a sort of climax to the whole
|
||
|
panorama, and it was more than he could endure.
|
||
|
Sanguine by nature, Troy had a power of eluding
|
||
|
grief by simply adjourning it. He could put off the
|
||
|
consideration of any particular spectre till the matter
|
||
|
had become old and softened by time. The planting
|
||
|
of flowers on Fanny's grave had been perhaps but a
|
||
|
species of elusion of the primary grief, and now it was
|
||
|
as if his intention had been known and circumvented.
|
||
|
Almost for the first time in his life, Troy, as he stood
|
||
|
by this dismantled grave, wished himself another man.
|
||
|
lt is seldom that a person with much animal spirit does
|
||
|
not feel that the fact of his life being his own is the one
|
||
|
qualification which singles it out as a more hopeful life
|
||
|
than that of others who may actually resemble him in
|
||
|
every particular. Troy had felt, in his transient way,
|
||
|
hundreds of times, that he could not envy other people
|
||
|
their condition, because the possession of that condition
|
||
|
would have necessitated a different personality, when he
|
||
|
desired no other than his own. He had not minded
|
||
|
the peculiarities of his birth, the vicissitudes of his life,
|
||
|
the meteorlike uncertainty of all that related to him,
|
||
|
because these appertained to the hero of his story,
|
||
|
without whom there would have been no story at all for
|
||
|
him; and it seemed to be only in the nature of things
|
||
|
that matters would right themselves at some proper date
|
||
|
and wind up well. This very morning the illusion
|
||
|
completed its disappearance, and, as it were, all of a
|
||
|
sudden, Troy hated himself. The suddenness was
|
||
|
probably more apparent than real. A coral reef which
|
||
|
just comes short of the ocean surface is no more to the
|
||
|
horizon than if it had never been begun, and the mere
|
||
|
finishing stroke is what often appears to create an event
|
||
|
which has long been potentially an accomplished thing.
|
||
|
He stood and mediated -- a miserable man. Whither
|
||
|
should he go? " He that is accursed, let him be accursed
|
||
|
still." was the pitiless anathema written in this spoliated
|
||
|
effort of his new-born solicitousness. A man who has
|
||
|
spent his primal strength in journeying in one direction
|
||
|
has not much spirit left for reversing his course. Troy
|
||
|
had, since yesterday, faintly reversed his; but the merest
|
||
|
opposition had disheartened him. To turn about would
|
||
|
have been hard enough under the greatest providential
|
||
|
encouragement; but to find that Providence, far from
|
||
|
helping him into a new course, or showing any wish
|
||
|
that he might adopt one, actually jeered his first trembling
|
||
|
and critical attempt in that kind, was more than nature
|
||
|
could bear.
|
||
|
He slowly withdrew from the grave. He did not
|
||
|
attempt to fill up the hole, replace the flowers, or do
|
||
|
anything at all. He simply threw up his cards and
|
||
|
forswore his game for that time and always. Going out
|
||
|
of the churchyard silently and unobserved -- none of the
|
||
|
villagers having yet risen -- he passed down some fields
|
||
|
at the back, and emerged just as secretly upon the high
|
||
|
road. Shortly afterwards he had gone from the village.
|
||
|
Meanwhile, Bathsheba remained a voluntary prisoner
|
||
|
in the attic. The door was kept locked, except during
|
||
|
the entries and exits of Liddy, for whom a bed had
|
||
|
been arranged in a small adjoining room. The light
|
||
|
of Troy's lantern in the churchyard was noticed about
|
||
|
ten o'clock by the maid-servant, who casually glanced
|
||
|
from the window in that direction whilst taking her
|
||
|
supper, and she called Bathsheba's attention to it.
|
||
|
They looked curiously at the phenomenon for a time,
|
||
|
until Liddy was sent to bed.
|
||
|
bathsheba did not sleep very heavily that night.
|
||
|
When her attendant was unconscious and softly breath-
|
||
|
ing in the next room, the mistress of the house was
|
||
|
still looking out of the window at the faint gleam
|
||
|
spreading from among the trees -- not in a steady shine,
|
||
|
but blinking like a revolving coastlight, though this
|
||
|
appearance failed to suggest to her that a person was
|
||
|
passing and repassing in front of it. Bathsheba sat
|
||
|
here till it began to rain, and the light vanished, when
|
||
|
she withdrew to lie restlessly in her bed and re-enact
|
||
|
in a worn mind the lurid scene of yesternight.
|
||
|
Almost before the first faint sign of dawn appeared
|
||
|
she arose again, and opened the window to obtain a full
|
||
|
breathing of the new morning air, the panes being now
|
||
|
wet with trembling tears left by the night rain, each
|
||
|
one rounded with a pale lustre caught from primrose-
|
||
|
hued slashes through a cloud low down in the awaken-
|
||
|
ing sky. From the trees came the sound of steady
|
||
|
dripping upon the drifted leaves under them, and from
|
||
|
the direction of the church she could hear another noise
|
||
|
-- peculiar, and not intermittent like the rest, the purl
|
||
|
of water falling into a pool.
|
||
|
Liddy knocked at eight o'clock, and Bathsheba un-
|
||
|
locked the door.
|
||
|
"What a heavy rain we've had in the night, ma'am!"
|
||
|
said Liddy, when her inquiries about breakfast had been
|
||
|
made.
|
||
|
"Yes, very heavy."
|
||
|
"Did you hear the strange noise from the church
|
||
|
yard?"
|
||
|
"I heard one strange noise. I've been thinking it
|
||
|
must have been the water from the tower spouts."
|
||
|
"Well, that's what the shepherd was saying, ma'am.
|
||
|
He's now gone on to see."
|
||
|
"Oh! Gabriel has been here this morning!"
|
||
|
"Only just looked in in passing -- quite in his old way,
|
||
|
which I thought he had left off lately. But the tower
|
||
|
spouts used to spatter on the stones, and we are puzzled,
|
||
|
for this was like the boiling of a pot."
|
||
|
Not being able to read, think, or work, Bathsheba asked
|
||
|
Liddy to stay and breakfast with her. The tongue of the
|
||
|
more childish woman still ran upon recent events. "Are
|
||
|
you going across to the church, ma'am?" she asked.
|
||
|
"Not that I know of." said Bathsheba.
|
||
|
"I thought you might like to go and see where they
|
||
|
have put Fanny. The trees hide the place from your
|
||
|
window."
|
||
|
Bathsheba had all sorts of dreads about meeting her
|
||
|
husband. "Has Mr. Troy been in to-night?" she said
|
||
|
"No, ma'am; I think he's gone to Budmouth.
|
||
|
Budmouth! The sound of the word carried with
|
||
|
it a much diminished perspective of him and his deeds;
|
||
|
there were thirteen miles interval betwixt them now.
|
||
|
She hated questioning Liddy about her husband's
|
||
|
movements, and indeed had hitherto sedulously avoided
|
||
|
doing so; but now all the house knew that there had
|
||
|
been some dreadful disagreement between them, and
|
||
|
it was futile to attempt disguise. Bathsheba had
|
||
|
reached a stage at which people cease to have any
|
||
|
appreciative regard for public opinion.
|
||
|
"What makes you think he has gone there?" she said.
|
||
|
"Laban Tall saw him on the Budmouth road this
|
||
|
morning before breakfast."
|
||
|
Bathsheba was momentarily relieved of that wayward
|
||
|
heaviness of the past twenty-four hours which had
|
||
|
quenched the vitality of youth in her without sub-
|
||
|
stituting the philosophy of maturer years, and the
|
||
|
resolved to go out and walk a little way. So when
|
||
|
breakfast was over, she put on her bonnet, and took
|
||
|
a direction towards the church. It was nine o'clock,
|
||
|
and the men having returned to work again from their
|
||
|
first meal, she was not likely to meet many of them in
|
||
|
the road. Knowing that Fanny had been laid in the
|
||
|
reprobates' quarter of the graveyard, called in the parish
|
||
|
"behind church." which was invisible from the road, it
|
||
|
was impossible to resist the impulse to enter and look
|
||
|
upon a spot which, from nameless feelings, she at the
|
||
|
same time dreaded to see. She had been unable to
|
||
|
overcome an impression that some connection existed
|
||
|
between her rival and the light through the trees.
|
||
|
Bathsheba skirted the buttress, and beheld the hole
|
||
|
and the tomb, its delicately veined surface splashed and
|
||
|
stained just as Troy had seen it and left it two hours
|
||
|
earlier. On the other side of the scene stood Gabriel.
|
||
|
His eyes, too, were fixed on the tomb, and her arrival
|
||
|
having been noiseless, she had not as yet attracted his
|
||
|
attention. Bathsheba did not at once perceive that the
|
||
|
grand tomb and the disturbed grave were Fanny's, and
|
||
|
she looked on both sides and around for some humbler
|
||
|
mound, earthed up and clodded in the usual way. Then
|
||
|
her eye followed Oak's, and she read the words with
|
||
|
which the inscription opened: --
|
||
|
"Erected by Francis Troy in Beloved Memory of
|
||
|
Fanny Robin."
|
||
|
Oak saw her, and his first act was to gaze inquiringly
|
||
|
and learn how she received this knowledge of the
|
||
|
authorship of the work, which to himself had caused
|
||
|
considerable astonishment. But such discoveries did
|
||
|
not much affect her now. Emotional convulsions seemed
|
||
|
to have become the commonplaces of her history, and
|
||
|
she bade him good morning, and asked him to fill in
|
||
|
the hole with the spade which was standing by. Whilst
|
||
|
Oak was doing as she desired, Bathsheba collected the
|
||
|
flowers, and began planting them with that sympathetic
|
||
|
manipulation of roots and leaves which is so conspicuous
|
||
|
in a woman's gardening, and which flowers seem to
|
||
|
understand and thrive upon. She requested Oak to
|
||
|
get the churchwardens to turn the leadwork at the
|
||
|
mouth of the gurgoyle that hung gaping down upon
|
||
|
them, that by this means the stream might be directed
|
||
|
sideways, and a repetition of the accident prevented.
|
||
|
Finally, with the superfluous magnanimity of a woman
|
||
|
whose narrower instincts have brought down bitterness
|
||
|
upon her instead of love, she wiped the mud spots from
|
||
|
the tomb as if she rather liked its words than otherwise,
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLVII
|
||
|
|
||
|
|
||
|
|
||
|
ADVENTURES BY THE SHORE
|
||
|
|
||
|
|
||
|
TROY wandered along towards the south. A composite
|
||
|
feeling, made up of disgust with the, to him, humdrum
|
||
|
tediousness of a farmer's life, gloomily images of her who
|
||
|
lay in the churchyard, remorse, and a general averseness
|
||
|
to his wife's society, impelled him to seek a home in any
|
||
|
place on earth save Weatherbury. The sad accessories
|
||
|
of Fanny's end confronted him as vivid pictures which
|
||
|
threatened to be indelible, and made life in Bathsheba's
|
||
|
house intolerable. At three in the afternoon he found
|
||
|
himself at the foot of a slope more than a mile in length,
|
||
|
which ran to the ridge of a range of hills lying parallel
|
||
|
with the shore, and forming a monotonous barrier between
|
||
|
the basin of cultivated country inland and the wilder
|
||
|
scenery of the coast. Up the hill stretched a road
|
||
|
nearly straight and perfectly white, the two sides
|
||
|
approaching each other in a gradual taper till they
|
||
|
met the sky at the top about two miles off. Through-
|
||
|
out the length of this narrow and irksome inclined plane
|
||
|
not a sign of life was visible on this garish afternoon
|
||
|
Troy toiled up the road with a languor and depression
|
||
|
greater than any he had experienced for many a day
|
||
|
and year before. The air was warm and muggy, and
|
||
|
the top seemed to recede as he approached.
|
||
|
At last he reached the summit, and a wide and
|
||
|
novel prospect burst upon him with an effect almost like
|
||
|
that of the Pacific upon Balboa's gaze. The broad
|
||
|
steely sea, marked only by faint lines, which had a
|
||
|
semblance of being etched thereon to a degree not deep
|
||
|
enough to disturb its general evenness, stretched the
|
||
|
whole width of his front and round to the right, where,
|
||
|
near the town and port of Budmouth, the sun bristled
|
||
|
down upon it, and banished all colour, to substitute in
|
||
|
its place a clear oily polish. Nothing moved in sky,
|
||
|
land, or sea, except a frill of milkwhite foam along the
|
||
|
nearer angles of the shore, shreds of which licked the
|
||
|
contiguous stones like tongues.
|
||
|
He descended and came to a small basin of sea
|
||
|
enclosed by the cliffs. Troy's nature freshened within
|
||
|
him; he thought he would rest and bathe here before
|
||
|
going farther. He undressed and plunged in. Inside
|
||
|
the cove the water was uninteresting to a swimmer,
|
||
|
being smooth as a pond, and to get a little of the ocean
|
||
|
swell, Troy presently swam between the two projecting
|
||
|
spurs of rock which formed the pillars of Hercules to
|
||
|
this miniature Mediterranean. Unfortunately for Troy
|
||
|
a current unknown to him existed outside, which, un-
|
||
|
important to craft of any burden, was awkward for a
|
||
|
swimmer who might be taken in it unawares. Troy
|
||
|
found himself carried to the left and then round in a
|
||
|
swoop out to sea.
|
||
|
He now recollected the place and its sinister
|
||
|
character. Many bathers had there prayed for a dry
|
||
|
death from time to time, and, like Gonzalo also, had
|
||
|
been unanswered; and Troy began to deem it possible
|
||
|
that he might be added to their number. Not a boat
|
||
|
of any kind was at present within sight, but far in the
|
||
|
distance Budmouth lay upon the sea, as it were quietly
|
||
|
regarding his efforts, and beside the town the harbour
|
||
|
showed its position by a dim meshwork of ropes and
|
||
|
spars. After wellnigh exhausting himself in attempts
|
||
|
to get back to the mouth of the cove, in his weakness
|
||
|
swimming several inches deeper than was his wont,
|
||
|
keeping up his breathing entirely by his nostrils, turning
|
||
|
upon his back a dozen times over, swimming EN PAPILLON
|
||
|
and so on, Troy resolved as a last resource to tread
|
||
|
water at a slight incline, and so endeavour to reach the
|
||
|
shore at any point, merely giving himself a gentle
|
||
|
impetus inwards whilst carried on in the general direc-
|
||
|
tion of the tide. This, necessarily a slow process, he
|
||
|
found to be not altogether so difficult, and though there
|
||
|
was no choice of a landing-place -- the objects on shore
|
||
|
passing by him in a sad and slow procession -- he per-
|
||
|
ceptibly approached the extremity of a spit of land yet
|
||
|
further to the right, now well defined against the sunny
|
||
|
portion of the horizon. While the swimmer's eye's were
|
||
|
fixed upon the spit as his only means of salvation on
|
||
|
this side of the Unknown, a moving object broke the
|
||
|
outline of the extremity, and immediately a ship's boat
|
||
|
appeared manned with several sailor lads, her bows
|
||
|
towards the sea.
|
||
|
All Troy's vigour spasmodically revived to prolong
|
||
|
the struggle yet a little further. Swimming with his
|
||
|
right arm, he held up his left to hail them, splashing
|
||
|
upon the waves, and shouting with all his might. From
|
||
|
the position of the setting sun his white form was
|
||
|
distinctly visible upon the now deep-hued bosom of the
|
||
|
sea to the east of the boat, and the men saw him at
|
||
|
once. Backing their oars and putting the boat about,
|
||
|
they pulled towards him with a will, and in five or six
|
||
|
minutes from the time of his first halloo, two of the
|
||
|
sailors hauled him in over the stern.
|
||
|
They formed part of a brig's crew, and had come
|
||
|
ashore for sand. Lending him what little clothing they
|
||
|
could spare among them as a slight protection against
|
||
|
late they made again towards the roadstead where their
|
||
|
And now night drooped slowly upon the wide watery
|
||
|
levels in front; and at no great distance from them,
|
||
|
where the shoreline curved round, and formed a long
|
||
|
riband of shade upon the horizon, a series of points of
|
||
|
yellow light began to start into existence, denoting the
|
||
|
spot to be the site of Budmouth, where the lamps were
|
||
|
being lighted along the parade. The cluck of their
|
||
|
oars was the only sound of any distinctness upon the
|
||
|
sea, and as they laboured amid the thickening shades
|
||
|
the lamplights grew larger, each appearing to send a
|
||
|
flaming sword deep down into the waves before it, until
|
||
|
there arose, among other dim shapes of the kind, the
|
||
|
form of the vessel for which they were bound.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLVIII
|
||
|
|
||
|
|
||
|
|
||
|
DOUBTS ARISE -- DOUBTS LINGER
|
||
|
|
||
|
|
||
|
BATHSHEBA underwent the enlargement of her
|
||
|
Husband's absence from hours to days with a slight
|
||
|
feeling of surprise, and a slight feeling of relief; yet
|
||
|
neither sensation rose at any time far above the level
|
||
|
commonly designated as indifference. She belonged to
|
||
|
him: the certainties of that position were so well defined,
|
||
|
and the reasonable probabilities of its issue so bounded
|
||
|
that she could not speculate on contingencies. Taking
|
||
|
no further interest in herself as a splendid woman, she
|
||
|
acquired the indifferent feelings of an outsider in contem-
|
||
|
plating her probable fate as a singular wretch; for Bath-
|
||
|
sheba drew herself and her future in colours that no
|
||
|
reality could exceed for darkness. Her original vigorous
|
||
|
pride of youth had sickened, and with it had declined
|
||
|
all her anxieties about coming years, since anxiety
|
||
|
recognizes a better and a worse alternative, and Bath-
|
||
|
sheba had made up her mind that alternatives on any
|
||
|
noteworthy scale had ceased for her. Soon, or later --
|
||
|
and that not very late -- her husband would be home
|
||
|
again. And then the days of their tenancy of the
|
||
|
Upper Farm would be numbered. There had origin-
|
||
|
ally been shown by the agent to the estate some distrust
|
||
|
of Bathsheba's tenure as James Everdene's successor,
|
||
|
on the score of her sex, and her youth, and her beauty;
|
||
|
but the peculiar nature of her uncle's will, his own
|
||
|
frequent testimony before his death to her cleverness
|
||
|
in such a pursuit, and her vigorous marshalling of the
|
||
|
numerous flocks and herds which came suddenly into
|
||
|
her hands before negotiations were concluded, had won
|
||
|
confidence in her powers, and no further objections had
|
||
|
been raised. She had latterly been in great doubt as
|
||
|
to what the legal effects of her marriage would be upon
|
||
|
her position; but no notice had been taken as yet of
|
||
|
her change of name, and only one point was clear -- that
|
||
|
in the event of her own or her husband's inability to
|
||
|
meet the agent at the forthcoming January rent-day,
|
||
|
very little consideration would be shown, and, for that
|
||
|
matter, very little would be deserved. Once out of the
|
||
|
farm, the approach of poverty would be sure.
|
||
|
Hence Bathsheba lived in a perception that her
|
||
|
purposes were broken of. She was not a woman who
|
||
|
could hope on without good materials for the process,
|
||
|
differing thus from the less far-Sighted and energetic,
|
||
|
though more petted ones of the sex, with whom hope
|
||
|
goes on as a sort of clockwork which the merest food
|
||
|
and shelter are sufficient to wind up; and perceiving
|
||
|
clearly that her mistake had been a fatal one, she
|
||
|
accepted her position, and waited coldly for the end.
|
||
|
The first Saturday after Troy's departure she went
|
||
|
to Casterbridge alone, a journey she had not before
|
||
|
taken since her marriage. On this Saturday Bathsheba
|
||
|
was passing slowly on foot through the crowd of rural
|
||
|
business-men gathered as usual in front of the market-
|
||
|
house, who were as usual gazed upon by the burghers
|
||
|
with feelings that those healthy lives were dearly paid
|
||
|
for by exclusion from possible aldermanship, when a
|
||
|
man, who had apparently been following her, said some
|
||
|
words to another on her left hand. Bathsheba's ears
|
||
|
were keen as those of any wild animal, and she dis-
|
||
|
tinctly heard what the speaker said, though her back
|
||
|
was towards him
|
||
|
"I am looking for Mrs. Troy. Is that she there?"
|
||
|
"Yes; that's the young lady, I believe." said the
|
||
|
the person addressed.
|
||
|
"I have some awkward news to break to her. Her
|
||
|
husband is drowned."
|
||
|
As if endowed with the spirit of prophecy, Bathsheba
|
||
|
gasped out, "No, it is not true; it cannot be true!"
|
||
|
Then she said and heard no more. The ice of self-
|
||
|
command which had latterly gathered over her was
|
||
|
broken, and the currents burst forth again, and over
|
||
|
whelmed her. A darkness came into her eyes, and she
|
||
|
fell.
|
||
|
But not to the ground. A gloomy man, who had
|
||
|
been observing her from under the portico of the old
|
||
|
corn-exchange when she passed through the group
|
||
|
without, stepped quickly to her side at the moment of
|
||
|
her exclamation, and caught her in his arms as she sank
|
||
|
down.
|
||
|
"What is it?" said Boldwood, looking up at the
|
||
|
bringer of the big news, as he supported her.
|
||
|
"Her husband was drowned this week while bathing
|
||
|
in Lulwind Cove. A coastguardsman found his clothes,
|
||
|
and brought them into Budmouth yesterday."
|
||
|
Thereupon a strange fire lighted up Boldwood's eye,
|
||
|
and his face flushed with the suppressed excitement of
|
||
|
an unutterable thought. Everybody's glance was now
|
||
|
centred upon him and the unconscious Bathsheba. He
|
||
|
lifted her bodily off the ground, and smoothed down
|
||
|
the folds of her dress as a child might have taken a
|
||
|
storm-beaten bird and arranged its ruffled plumes, and
|
||
|
bore her along the pavement to the King's Arms Inn.
|
||
|
Here he passed with her under the archway into a
|
||
|
private room; and by the time he had deposited -- so
|
||
|
lothly -- the precious burden upon a sofa, Bathsheba had
|
||
|
opened her eyes. Remembering all that had occurred,
|
||
|
she murmured, "I want to go home!"
|
||
|
Boldwood left the room. He stood for a moment in
|
||
|
the passage to recover his senses. The experience had
|
||
|
been too much for his consciousness to keep up with,
|
||
|
and now that he had grasped it it had gone again. For
|
||
|
those few heavenly, golden moments she had been in his
|
||
|
arms. What did it matter about her not knowing it? She
|
||
|
had been close to his breast; he had been close to hers.
|
||
|
He started onward again, and sending a woman to
|
||
|
her, went out to ascertain all the facts of the case.
|
||
|
These appeared to be limited to what he had already
|
||
|
heard. He then ordered her horse to be put into the
|
||
|
gig, and when all was ready returned to inform her.
|
||
|
He found that, though still pale and unwell, she had in
|
||
|
the meantime sent for the Budmouth man who brought
|
||
|
the tidings, and learnt from him all there was to know.
|
||
|
Being hardly in a condition to drive home as she
|
||
|
had driven to town, Boldwood, with every delicacy of
|
||
|
manner and feeling, offered to get her a driver, or to
|
||
|
give her a seat in his phaeton, which was more com-
|
||
|
fortable than her own conveyance. These proposals
|
||
|
Bathsheba gently declined, and the farmer at once de-
|
||
|
parted.
|
||
|
About half-an-hour later she invigorated herself by
|
||
|
an effort, and took her seat and the reins as usual-in
|
||
|
external appearance much as if nothing had happened.
|
||
|
She went out of the town by a tortuous back street, and
|
||
|
drove slowly along, unconscious of the road and the
|
||
|
scene. The first shades of evening were showing them-
|
||
|
selves when Bathsheba reached home, where, silently
|
||
|
alighting and leaving the horse in the hands of the boy,
|
||
|
she proceeded at once upstairs. Liddy met her on the
|
||
|
landing. The news had preceded Bathsheba to Weather-
|
||
|
bury by half-an-hour, and Liddy looked inquiringly into
|
||
|
her mistress's face. Bathsheba had nothing to say.
|
||
|
She entered her bedroom and sat by the window, and
|
||
|
thought and thought till night enveloped her, and the
|
||
|
extreme lines only of her shape were visible. Somebody
|
||
|
came to the door, knocked, and opened it.
|
||
|
"Well, what is it, Liddy?" she said.
|
||
|
"I was thinking there must be something got for you
|
||
|
to wear." said Liddy, with hesitation.
|
||
|
"What do you mean?"
|
||
|
"Mourning."
|
||
|
"No, no, no." said Bathsheba, hurriedly.
|
||
|
"But I suppose there must be something done for
|
||
|
poor -- -- "
|
||
|
"Not at present, I think. It is not necessary."
|
||
|
"Why not, ma'am?"
|
||
|
"Because he's still alive."
|
||
|
"How do you know that?" said Liddy, amazed.
|
||
|
"I don't know it. But wouldn't it have been different,
|
||
|
or shouldn't I have heard more, or wouldn't they have
|
||
|
found him, Liddy? -- or-i don't know how it is, but
|
||
|
death would have been different from how this is. I am
|
||
|
perfectly convinced that he is still alive!"
|
||
|
Bathsheba remained firm in this opinion till Monday,
|
||
|
when two circumstances conjoined to shake it. The
|
||
|
first was a short paragraph in the local newspaper, which,
|
||
|
beyond making by a methodizing pen formidable pre-
|
||
|
sumptive evidence of Troy's death by drowning, con-
|
||
|
tained the important testimony of a young Mr. Barker,
|
||
|
M.D., of Budmouth, who spoke to being an eyewitness
|
||
|
of the accident, in a letter to the editor. In this he
|
||
|
stated that he was passing over the cliff on the remoter
|
||
|
side of the cove just as the sun was setting. At that
|
||
|
time he saw a bather carried along in the current outside
|
||
|
the mouth of the cove, and guessed in an instant that
|
||
|
there was but a poor chance for him unless he should
|
||
|
be possessed of unusual muscular powers. He drifted
|
||
|
behind a projection of the coast, and Mr. Barker followed
|
||
|
along the shore in the same direction. But by the time
|
||
|
that he could reach an elevation sufficiently great to
|
||
|
command a view of the sea beyond, dusk had set in, and
|
||
|
nothing further was to be seen.
|
||
|
The other circumstance was the arrival of his clothes,
|
||
|
when it became necessary for her to examine and identify
|
||
|
them -- though this had virtually been done long before
|
||
|
by those who inspected the letters in his pockets. It
|
||
|
was so evident to her in the midst of her agitation that
|
||
|
Troy had undressed in the full conviction of dressing
|
||
|
again almost immediately, that the notion that anything
|
||
|
but death could have prevented him was a perverse one
|
||
|
to entertain.
|
||
|
Then Bathsheba said to herself that others were
|
||
|
assured in their opinion; strange that she should not
|
||
|
be. A strange reflection occurred to her, causing her
|
||
|
face to flush. Suppose that Troy had followed Fanny
|
||
|
into another world. Had he done this intentionally, yet
|
||
|
contrived to make his death appear like an accident?
|
||
|
Nevertheless, this thought of how the apparent might
|
||
|
differ from the real-made vivid by her bygone jealousy
|
||
|
of Fanny, and the remorse he had shown that night
|
||
|
-- did not blind her to the perception of a likelier
|
||
|
difference, less tragic, but to herself far more disastrous.
|
||
|
When alone late that evening beside a small fire, and
|
||
|
much calmed down, Bathsheba took Troy's watch into
|
||
|
her hand, which had been restored to her with the rest
|
||
|
of the articles belonging to him. She opened the case
|
||
|
as he had opened it before her a week ago. There was
|
||
|
the little coil of pale hair which had been as the fuze to
|
||
|
this great explosion.
|
||
|
"He was hers and she was his; they should be gone
|
||
|
together." she said. "I am nothing to either of them,
|
||
|
and why should I keep her hair?" She took it in her
|
||
|
hand, and held it over the fire." No-i'll not burn it
|
||
|
-i'll keep it in memory of her, poor thing!" she added,
|
||
|
snatching back her hand.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER XLIX
|
||
|
|
||
|
|
||
|
|
||
|
OAK'S ADVANCEMENT -- A GREAT HOPE
|
||
|
|
||
|
|
||
|
THE later autumn and the winter drew on apace,
|
||
|
and the leaves lay thick upon the turf of the glades
|
||
|
and the mosses of the woods. Bathsheba, having
|
||
|
previously been living in a state of suspended feeling
|
||
|
which was not suspense, now lived in a mood of
|
||
|
quietude which was not precisely peacefulness. While
|
||
|
she had known him to be alive she could have thought
|
||
|
of his death with equanimity; but now that it might be
|
||
|
she had lost him, she regretted that he was not hers
|
||
|
still. She kept the farm going, raked in her profits
|
||
|
without caring keenly about them, and expended
|
||
|
money on ventures because she had done so in bygone
|
||
|
days, which, though not long gone by, seemed infinitely
|
||
|
removed from her present. She looked back upon that
|
||
|
past over a great gulf, as if she were now a dead person,
|
||
|
having the faculty of meditation still left in her, by
|
||
|
means of which, like the mouldering gentlefolk of the
|
||
|
poet's story, she could sit and ponder what a gift life
|
||
|
used to be.
|
||
|
However, one excellent result of her general apathy
|
||
|
was the long-delayed installation of Oak as bailiff; but
|
||
|
he having virtually exercised that function for a long
|
||
|
time already, the change, beyond the substantial in-
|
||
|
crease of wages it brought, was little more than a
|
||
|
nominal one addressed to the outside world.
|
||
|
Boldwood lived secluded and inactive. Much of
|
||
|
his wheat and all his barley of that season had been
|
||
|
spoilt by the rain. It sprouted, grew into intricate
|
||
|
mats, and was ultimately thrown to the pigs in armfuls.
|
||
|
The strange neglect which had produced this ruin
|
||
|
and waste became the subject of whispered talk among
|
||
|
all the people round; and it was elicited from one of
|
||
|
Boldwood's men that forgetfulness had nothing to do
|
||
|
with it, for he had been reminded of the danger to
|
||
|
his corn as many times and as persistently as inferiors
|
||
|
dared to do. The sight of the pigs turning in disgust
|
||
|
from the rotten ears seemed to arouse Boldwood, and
|
||
|
he one evening sent for Oak. Whether it was sug-
|
||
|
gested by Bathsheba's recent act of promotion or not,
|
||
|
the farmer proposed at the interview that Gabriel
|
||
|
should undertake the superintendence of the Lower
|
||
|
Farm as well as of Bathsheba's, because of the necessity
|
||
|
Boldwood felt for such aid, and the impossibility of
|
||
|
discovering a more trustworthy man. Gabriel's malig-
|
||
|
nant star was assuredly setting fast.
|
||
|
Bathsheba, when she learnt of this proposal-for
|
||
|
Oak was obliged to consult her -- at first languidly
|
||
|
objected. She considered that the two farms together
|
||
|
were too extensive for the observation of one man.
|
||
|
Boldwood, who was apparently determined by personal
|
||
|
rather than commercial reasons, suggested that Oak
|
||
|
should be furnished with a horse for his sole use,
|
||
|
when the plan would present no difficulty, the two
|
||
|
farms lying side by side. Boldwood did not directly
|
||
|
communicate with her during these negotiations, only
|
||
|
speaking to Oak, who was the go-between throughout.
|
||
|
All was harmoniously arranged at last, and we now
|
||
|
see Oak mounted on a strong cob, and daily trotting
|
||
|
the length breadth of about two thousand acres
|
||
|
in a cheerful spirit of surveillance, as if the crops
|
||
|
belonged to him -- the actual mistress of the one-half
|
||
|
and the master of the other, sitting in their respective
|
||
|
homes in gloomy and sad seclusion.
|
||
|
Out of this there arose, during the spring succeeding,
|
||
|
a talk in the parish that Gabriel Oak was feathering his
|
||
|
nest fast.
|
||
|
"Whatever d'ye think." said Susan Tall," Gable Oak
|
||
|
is coming it quite the dand. He now wears shining
|
||
|
boots with hardly a hob in 'em, two or three times
|
||
|
a-week, and a tall hat a-Sundays, and 'a hardly knows
|
||
|
the name of smockfrock. When I see people strut
|
||
|
enough to he cut up into bantam cocks, I stand
|
||
|
dormant with wonder, and says no more!"
|
||
|
It was eventually known that Gabriel, though paid
|
||
|
a fixed wage by Bathsheba independent of the fluctua-
|
||
|
tions of agricultural profits, had made an engagement
|
||
|
with Boldwood by which Oak was to receive a share
|
||
|
of the receipts -- a small share certainly, yet it was
|
||
|
money of a higher quality than mere wages, and
|
||
|
capable of expansion in a way that wages were not.
|
||
|
Some were beginning to consider Oak a "near" man,
|
||
|
for though his condition had thus far improved, he
|
||
|
lived in no better style than before, occupying the
|
||
|
same cottage, paring his own potatoes, mending his
|
||
|
stockings, and sometimes even making his bed with
|
||
|
his own hands. But as Oak was not only provokingly
|
||
|
indifferent to public opinion, but a man who clung
|
||
|
persistently to old habits and usages, simply because
|
||
|
they were old, there was room for doubt as to his
|
||
|
motives.
|
||
|
A great hope had latterly germinated in Boldwood,
|
||
|
whose unreasoning devotion to Bathsheba could only
|
||
|
be characterized as a fond madness which neither
|
||
|
time nor circumstance, evil nor good report, could
|
||
|
weaken or destroy. This fevered hope had grown up
|
||
|
again like a grain of mustard-seed during the quiet
|
||
|
which followed the hasty conjecture that Troy was
|
||
|
drowned. He nourished it fearfully, and almost
|
||
|
shunned the contemplation of it in earnest, lest facts
|
||
|
should reveal the wildness of the dream. Bathsheba
|
||
|
having at last been persuaded to wear mourning, her
|
||
|
appearance as she entered the church in that guise
|
||
|
was in itself a weekly addition to his faith that a
|
||
|
time was coming -- very far off perhaps, yet surely
|
||
|
nearing -- when his waiting on events should have
|
||
|
its reward. How long he might have to wait he had
|
||
|
not yet closely considered. what he would try to
|
||
|
recognize was that the severe schooling she had been
|
||
|
subjected to had made Bathsheba much more con-
|
||
|
siderate than she had formerly been of the feelings of
|
||
|
others, and he trusted that, should she be willing at
|
||
|
any time in the future to marry any man at all, that
|
||
|
man would be himself. There was a substratum of
|
||
|
good feeling in her: her self-reproach for the injury
|
||
|
she had thoughtlessly done him might be depended
|
||
|
upon now to a much greater extent than before her
|
||
|
infatuation and disappointment. It would be possible
|
||
|
to approach her by the channel of her good nature,
|
||
|
and to suggest a friendly businesslike compact between
|
||
|
them for fulfilment at some future day, keeping the
|
||
|
passionate side of his desire entirely out of her sight.
|
||
|
Such was Boldwood's hope.
|
||
|
To the eyes of the middle-aged, Bathsheba was
|
||
|
perhaps additionally charming just now. Her exuber-
|
||
|
ance of spirit was pruned down; the original phantom
|
||
|
of delight had shown herself to be not too bright for
|
||
|
human nature's daily food, and she had been able to
|
||
|
enter this second poetical phase without losing much
|
||
|
of the first in the process.
|
||
|
Bathsheba's return from a two months' visit to her
|
||
|
old aunt at Norcombe afforded the impassioned and
|
||
|
yearning farmer a pretext for inquiring directly after
|
||
|
her -- now possibly in the ninth month of her
|
||
|
widowhood -- and endeavouring to get a notion of her
|
||
|
middle of the haymaking, and Boldwood contrived to
|
||
|
"I am glad to see you out of doors, Lydia." he said
|
||
|
She simpered, and wondered in her heart why he
|
||
|
"I hope Mrs. Troy is quite well after her long
|
||
|
the coldest-hearted neighbour could scarcely say less
|
||
|
"She is quite well, sir.
|
||
|
"Yes, cheerful.
|
||
|
"Fearful, did you say?"
|
||
|
"O no. I merely said she was cheerful."
|
||
|
"Tells you all her affairs?"
|
||
|
"No, sir.
|
||
|
"Some of them?"
|
||
|
"Yes, sir.
|
||
|
"Mrs Troy puts much confidence in you, Lydia,
|
||
|
and very wisely, perhaps."
|
||
|
"She do, sir. I've been with her all through her
|
||
|
troubles, and was with her at the time of Mr. Troy's
|
||
|
going and all. And if she were to marry again I
|
||
|
expect I should bide with her."
|
||
|
"She promises that you shall -- quite natural." said
|
||
|
the strategic lover, throbbing throughout him at the
|
||
|
presumption which Liddy's words appeared to warrant
|
||
|
-- that his darling had thought of re-marriage.
|
||
|
"No -- she doesn't promise it exactly. I merely
|
||
|
judge on my own account.
|
||
|
"Yes, yes, I understand. When she alludes to the
|
||
|
possibility of marrying again, you conclude -- -- "
|
||
|
"She never do allude to it, sir." said Liddy, thinking
|
||
|
how very stupid Mr. Boldwood was getting.
|
||
|
"Of course not." he returned hastily, his hope falling
|
||
|
again." You needn't take quite such long reaches with
|
||
|
your rake, Lydia -- short and quick ones are best. Well,
|
||
|
perhaps, as she is absolute mistress again now, it is wise
|
||
|
of her to resolve never to give up her freedom."
|
||
|
"My mistress did certainly once say, though not
|
||
|
seriously, that she supposed she might marry again at
|
||
|
the end of seven years from last year, if she cared to
|
||
|
risk Mr. Troy's coming back and claiming her."
|
||
|
"Ah, six years from the present time. Said that she
|
||
|
might. She might marry at once in every reasonable
|
||
|
person's opinion, whatever the lawyers may say to the
|
||
|
contrary."
|
||
|
"Have you been to ask them?" said Liddy, innocently.
|
||
|
"Not I." said Boldwood, growing red." Liddy, you
|
||
|
needn't stay here a minute later than you wish, so Mr,
|
||
|
Oak says. I am now going on a little farther. Good"
|
||
|
afternoon."
|
||
|
He went away vexed with himself, and ashamed of
|
||
|
having for this one time in his life done anything which
|
||
|
could be called underhand. Poor Boldwood had no
|
||
|
more skill in finesse than a battering-ram, and he was
|
||
|
uneasy with a sense of having made himself to appear
|
||
|
stupid and, what was worse, mean. But he had, after
|
||
|
all, lighted upon one fact by way of repayment. It was
|
||
|
a singularly fresh and fascinating fact, and though not
|
||
|
without its sadness it was pertinent and real. In little
|
||
|
more than six years from this time Bathsheba might
|
||
|
certainly marry him. There was something definite in
|
||
|
that hope, for admitting that there might have been no
|
||
|
deep thought in her words to Liddy about marriage,
|
||
|
they showed at least her creed on the matter.
|
||
|
This pleasant notion was now continually in his mind.
|
||
|
Six years were a long time, but how much shorter than
|
||
|
never, the idea he had for so long been obliged to
|
||
|
endure! Jacob had served twice seven years for
|
||
|
Rachel: what were six for such a woman as this? He
|
||
|
tried to like the notion of waiting for her better than
|
||
|
that of winning her at once. Boldwood felt his love
|
||
|
to be so deep and strong and eternal, that it was pos-
|
||
|
sible she had never yet known its full volume, and this
|
||
|
patience in delay would afford him an opportunity of
|
||
|
giving sweet proof on the point. He would annihilate
|
||
|
the six years of his life as if they were minutes -- so little
|
||
|
did he value his time on earth beside her love. He
|
||
|
would let her see, all those six years of intangible ether-
|
||
|
eal courtship, how little care he had for anything but as
|
||
|
it bore upon the consummation.
|
||
|
Meanwhile the early and the late summer brought
|
||
|
round the week in which Greenhill Fair was held.
|
||
|
This fair was frequently attended by the folk of Weather-
|
||
|
bury.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER L
|
||
|
|
||
|
|
||
|
|
||
|
THE SHEEP FAIR -- TROY TOUCHES HIS WIFE'S HAND
|
||
|
|
||
|
|
||
|
GREENHILL was the Nijni Novgorod of South
|
||
|
Wessex; and the busiest, merriest, noisiest day of the
|
||
|
whole statute number was the day of the sheep fair.
|
||
|
This yearly gathering was upon the summit of a hill
|
||
|
which retained in good preservation the remains of an
|
||
|
ancient earthwork, consisting of a huge rampart and
|
||
|
entrenchment of an oval form encircling the top of
|
||
|
the hill, though somewhat broken down here and there.
|
||
|
To each of the two chief openings on opposite sides a
|
||
|
winding road ascended, and the level green space of
|
||
|
ten or fifteen acres enclosed by the bank was the
|
||
|
site of the fair. A few permanent erections dotted the
|
||
|
spot, but the majority of visitors patronized canvas alone
|
||
|
for resting and feeding under during the time of their
|
||
|
sojourn here.
|
||
|
Shepherds who attended with their flocks from long
|
||
|
distances started from home two or three days, or even
|
||
|
a week, before the fair, driving their charges a few miles
|
||
|
each day -- not more than ten or twelve -- and resting
|
||
|
them at night in hired fields by the wayside at pre-
|
||
|
viously chosen points, where they fed, having fasted since
|
||
|
morning. The shepherd of each flock marched behind,
|
||
|
a bundle containing his kit for the week strapped upon
|
||
|
his shoulders, and in his hand his crook, which he used
|
||
|
as the staff of his pilgrimage. Several of the sheep
|
||
|
would get worn and lame, and occasionally a lambing
|
||
|
occurred on the road. To meet these contingencies,
|
||
|
there was frequently provided, to accompany the flocks
|
||
|
from the remoter points, a pony and waggon into which
|
||
|
the weakly ones were taken for the remainder of the
|
||
|
journey.
|
||
|
The Weatherbury Farms, however, were no such
|
||
|
long distance from the hill, and those arrangements
|
||
|
were not necessary in their case. But the large united
|
||
|
flocks of Bathsheba and Farmer Boldwood formed a
|
||
|
valuable and imposing multitude which demanded much
|
||
|
attention, and on this account Gabriel, in addition to
|
||
|
Boldwood's shepherd and Cain Ball, accompanied them
|
||
|
along the way, through the decayed old town of Kings-
|
||
|
bere, and upward to the plateau, -- old George the dog
|
||
|
of course behind them.
|
||
|
When the autumn sun slanted over Greenhill this
|
||
|
morning and lighted the dewy flat upon its crest, nebu-
|
||
|
lous clouds of dust were to be seen floating between
|
||
|
the pairs of hedges which streaked the wide prospect
|
||
|
around in all directions. These gradually converged
|
||
|
upon the base of the hill, and the flocks became
|
||
|
individually visible, climbing the serpentine ways which
|
||
|
led to the top. Thus, in a slow procession, they entered
|
||
|
the opening to which the roads tended, multitude after
|
||
|
multitude, horned and hornless -- blue flocks and red
|
||
|
flocks, buff flocks and brown flocks, even green and
|
||
|
salmon-tinted flocks, according to the fancy of the
|
||
|
colourist and custom of the farm. Men were shouting,
|
||
|
dogs were barking, with greatest animation, but the
|
||
|
thronging travellers in so long a journey had grown
|
||
|
nearly indifferent to such terrors, though they still
|
||
|
bleated piteously at the unwontedness of their experi-
|
||
|
ences, a tall shepherd rising here and there in the midst
|
||
|
of them, like a gigantic idol amid a crowd of prostrate
|
||
|
devotees.
|
||
|
The great mass of sheep in the fair consisted of
|
||
|
South Downs and the old Wessex horned breeds, to
|
||
|
the latter class Bathsheba's and Farmer Boldwood's
|
||
|
mainly belonged. These filed in about nine o'clock,
|
||
|
their vermiculated horns lopping gracefully on each side
|
||
|
of their cheeks in geometrically perfect spirals, a small
|
||
|
pink and white ear nestling under each horn. Before
|
||
|
and behind came other varieties, perfect leopards as to
|
||
|
the full rich substance of their coats, and only lacking the
|
||
|
spots. There were also a few of the Oxfordshire breed,
|
||
|
whose wool was beginning to curl like a child's flaxen
|
||
|
hair, though surpassed in this respect by the effeminate
|
||
|
Leicesters, which were in turn less curly than the Cots-
|
||
|
wolds. But the most picturesque by far was a small
|
||
|
flock of Exmoors, which chanced to be there this year.
|
||
|
Their pied faces and legs, dark and heavy horns, tresses
|
||
|
of wool hanging round their swarthy foreheads, quite
|
||
|
relieved the monotony of the flocks in that quarter.
|
||
|
All these bleating, panting, and weary thousands had
|
||
|
entered and were penned before the morning had far
|
||
|
advanced, the dog belonging to each flock being tied to
|
||
|
the corner of the pen containing it. Alleys for pedes-
|
||
|
trians intersected the pens, which soon became crowded
|
||
|
with buyers and sellers from far and near.
|
||
|
In another part of the hill an altogether different
|
||
|
scene began to force itself upon the eye towards mid-
|
||
|
day. A circular tent, of exceptional newness and size,
|
||
|
was in course of erection here. As the day drew on,
|
||
|
the flocks began to change hands, lightening the shep-
|
||
|
herd's responsibilities; and they turned their attention
|
||
|
to this tent and inquired of a man at work there, whose
|
||
|
soul seemed concentrated on tying a bothering knot in
|
||
|
no time, what was going on.
|
||
|
"The Royal Hippodrome Performance of Turpin's
|
||
|
Ride to York and the Death of Black Bess." replied the
|
||
|
man promptly, without turning his eyes or leaving off
|
||
|
trying.
|
||
|
As soon as the tent was completed the band struck
|
||
|
up highly stimulating harmonies, and the announce-
|
||
|
ment was publicly made, Black Bess standing in a con-
|
||
|
spicuous position on the outside, as a living proof, If
|
||
|
proof were wanted, of the truth of the oracular utterances
|
||
|
from the stage over which the people were to enter.
|
||
|
These were so convinced by such genuine appeals to
|
||
|
heart and understanding both that they soon began to
|
||
|
crowd in abundantly, among the foremost being visible
|
||
|
Jan Coggan and Joseph Poorgrass, who were holiday
|
||
|
keeping here to-day,
|
||
|
"'That's the great ruffen pushing me!" screamed a
|
||
|
woman in front of Jan over her shoulder at him when
|
||
|
the rush was at its fiercest.
|
||
|
"How can I help pushing ye when the folk behind
|
||
|
push me?" said Coggan, in a deprecating tone, turning
|
||
|
without turning his body, which was jammed as in a vice.
|
||
|
There was a silence; then the drums and trumpets
|
||
|
again sent forth their echoing notes. The crowd was
|
||
|
again ecstasied, and gave another lurch in which Coggan
|
||
|
and Poorgrass were again thrust by those behind upon
|
||
|
the women in front.
|
||
|
"O that helpless feymels should be at the mercy of
|
||
|
she swayed like a reed shaken by the wind.
|
||
|
Now." said Coggan, appealing in an earnest voice
|
||
|
to the public at large as it stood clustered about his
|
||
|
shoulder-blades. "Did ye ever hear such onreasonable
|
||
|
woman as that? Upon my carcase, neighbours, if I
|
||
|
could only get out of this cheesewring, the damn women
|
||
|
might eat the show for me!"
|
||
|
"Don't ye lose yer temper, Jan!" implored Joseph
|
||
|
Poorgrass, in a whisper." They might get their men to
|
||
|
murder us, for I think by the shine of their eyes that
|
||
|
they be a sinful form of womankind."
|
||
|
Jan held his tongue, as if he had no objection to be
|
||
|
pacified to please a friend, and they gradually reached
|
||
|
the foot of the ladder, Poorgrass being flattened like a
|
||
|
jumping-jack, and the sixpence, for admission, which he
|
||
|
had got ready half-an-hour earlier, having become so
|
||
|
reeking hot in the tight squeeze of his excited hand that
|
||
|
the woman in spangles, brazen rings set with glass
|
||
|
diamonds, and with chalked face and shoulders, who
|
||
|
took the money of him, hastily dropped it again from
|
||
|
a fear that some trick had been played to burn her
|
||
|
fingers. So they all entered, and the cloth of the
|
||
|
tent, to the eyes of an observer on the outside, became
|
||
|
bulged into innumerable pimples such as we observe on
|
||
|
a sack of potatoes, caused by the various human heads,
|
||
|
backs, and elbows at high pressure within.
|
||
|
At the rear of the large tent there were two small
|
||
|
dressing-tents. One of these, alloted to the male per-
|
||
|
formers, was partitioned into halves by a cloth; and in
|
||
|
one of the divisions there was sitting on the grass, pull
|
||
|
ing on a pair of jack-boots, a young man whom we
|
||
|
instantly recognise as Sergeant Troy.
|
||
|
Troy's appearance in this position may be briefly
|
||
|
accounted for. The brig aboard which he was taken in
|
||
|
Budmouth Roads was about to start on a voyage, though
|
||
|
somewhat short of hands. Troy read the articles and
|
||
|
joined, but before they sailed a boat was despatched
|
||
|
across the bay to Lulwind cove; as he had half expected,
|
||
|
his clothes were gone. He ultimately worked his passage
|
||
|
to the United States, where he made a precarious living
|
||
|
in various towns as Professor of Gymnastics, Sword
|
||
|
Exercise, Fencing, and Pugilism. A few months were
|
||
|
sufficient to give him a distaste for this kind of life.
|
||
|
There was a certain animal form of refinement in his
|
||
|
nature; and however pleasant a strange condition might
|
||
|
be whilst privations were easily warded off, it was dis-
|
||
|
advantageously coarse when money was short. There
|
||
|
was ever present, too, the idea that he could claim a
|
||
|
home and its comforts did he but chose to return to
|
||
|
England and Weatherbury Farm. Whether Bathsheba
|
||
|
thought him dead was a frequent subject of curious
|
||
|
conjecture. To England he did return at last; but the
|
||
|
but the fact of drawing nearer to Weatherbury abstracted its
|
||
|
fascinations, and his intention to enter his old groove at
|
||
|
the place became modified. It was with gloom he con-
|
||
|
sidered on landing at Liverpool that if he were to go home
|
||
|
his reception would be of a kind very unpleasant to con-
|
||
|
template; for what Troy had in the way of emotion was
|
||
|
an occasional fitful sentiment which sometimes caused
|
||
|
him as much inconvenience as emotion of a strong and
|
||
|
healthy kind. Bathsheba was not a women to be made
|
||
|
a fool of, or a woman to suffer in silence; and how
|
||
|
could he endure existence with a spirited wife to whom
|
||
|
at first entering he would be beholden for food and
|
||
|
lodging? Moreover, it was not at all unlikely that his
|
||
|
wife would fail at her farming, if she had not already
|
||
|
done so; and he would then become liable for her
|
||
|
maintenance: and what a life such a future of poverty
|
||
|
with her would be, the spectre of Fanny constantly be-
|
||
|
tween them, harrowing his temper and embittering her
|
||
|
words! Thus, for reasons touching on distaste, regret,
|
||
|
and shame commingled, he put off his return from day
|
||
|
to day, and would have decided to put it off altogether
|
||
|
if he could have found anywhere else the ready-made
|
||
|
establishment which existed for him there.
|
||
|
At this time -- the July preceding the September in
|
||
|
which we find at Greenhill Fair -- he fell in with a
|
||
|
travelling circus which was performing in the outskirts of
|
||
|
a northern town. Troy introduced himself to the
|
||
|
manager by taming a restive horse of the troupe, hitting
|
||
|
a suspended apple with pistol-- bullet fired from the
|
||
|
animal's back when in full gallop, and other feats. For
|
||
|
his merits in these -- all more or less based upon his ex-
|
||
|
periences as a dragoon-guardsman -- Troy was taken into
|
||
|
the company, and the play of Turpin was prepared with
|
||
|
a view to his personation of the chief character. Troy
|
||
|
was not greatly elated by the appreciative spirit in which
|
||
|
he was undoubtedly treated, but he thought the engage-
|
||
|
ment might afford him a few weeks for consideration.
|
||
|
It was thus carelessly, and without having formed any
|
||
|
definite plan for the future, that Troy found himself
|
||
|
at Greenhill Fair with the rest of the company on this
|
||
|
day.
|
||
|
And now the mild autumn sun got lower, and in
|
||
|
front of the pavilion the following incident had taken
|
||
|
place. Bathsheba -- who was driven to the fair that day
|
||
|
by her odd man Poorgrass -- had, like every one else,
|
||
|
read or heard the announcement that Mr. Francis, the
|
||
|
Great Cosmopolitan Equestrian and Roughrider, would
|
||
|
enact the part of Turpin, and she was not yet too old
|
||
|
and careworn to be without a little curiosity to see him.
|
||
|
This particular show was by far the largest and grandest
|
||
|
in the fair, a horde of little shows grouping themselves
|
||
|
under its shade like chickens around a hen. The crowd
|
||
|
had passed in, and Boldwood, who had been watching
|
||
|
all the day for an opportunity of speaking to her, seeing
|
||
|
her comparatively isolated, came up to her side.
|
||
|
"I hope the sheep have done well to-day, Mrs. Troy?"
|
||
|
he said, nervously.
|
||
|
"O yes, thank you." said Bathsheba, colour springing
|
||
|
up in the centre of her cheeks. "I was fortunate
|
||
|
enough to sell them all just as we got upon the hill, so
|
||
|
we hadn't to pen at all."
|
||
|
"And now you are entirely at leisure?"
|
||
|
"Yes, except that I have to see one more dealer in
|
||
|
two hours' time: otherwise I should be going home.
|
||
|
He was looking at this large tent and the announcement.
|
||
|
Have you ever seen the play of "Turpin's Ride to
|
||
|
York?" Turpin was a real man, was he not?"
|
||
|
"O yes, perfectly true -- all of it. Indeed, I think
|
||
|
I've heard Jan Coggan say that a relation of his knew
|
||
|
Tom King, Turpin's friend, quite well."
|
||
|
"Coggan is rather given to strange stories connected
|
||
|
with his relations, we must remember. I hope they
|
||
|
can all be believed."
|
||
|
"Yes, yes; we know Coggan. But Turpin is true
|
||
|
enough. You have never seen it played, I suppose?"
|
||
|
"Never. I was not allowed to go into these places
|
||
|
when I was young. Hark! What's that prancing?
|
||
|
How they shout!"
|
||
|
"Black Bess just started off, I suppose. Am I right
|
||
|
in supposing you would like to see the performance,
|
||
|
Mrs. Troy? Please excuse my mistake, if it is one;
|
||
|
but if you would like to, I'll get a seat for you with
|
||
|
pleasure." Perceiving that she hesitated, he added, "I
|
||
|
myself shall not stay to see it: I've seen it before."
|
||
|
Now Bathsheba did care a little to see the show, and
|
||
|
had only withheld her feet from the ladder because she
|
||
|
feared to go in alone. She had been hoping that Oak
|
||
|
might appear, whose assistance in such cases was always
|
||
|
accepted as an inalienable right, but Oak was nowhere
|
||
|
to be seen; and hence it was that she said, "Then if
|
||
|
you will just look in first, to see if there's room, I think
|
||
|
I will go in for a minute or two."
|
||
|
And so a short time after this Bathsheba appeared
|
||
|
in the tent with Boldwood at her elbow, who, taking
|
||
|
her to a "reserved" seat, again withdrew.
|
||
|
This feature consisted of one raised bench in very
|
||
|
conspicuous part of the circle, covered with red cloth,
|
||
|
and floored with a piece of carpet, and Bathsheba
|
||
|
immediately found, to her confusion, that she was the
|
||
|
single reserved individual in the tent, the rest of the
|
||
|
crowded spectators, one and all, standing on their legs
|
||
|
on the borders of the arena, where they got twice as
|
||
|
good a view of the performance for half the money.
|
||
|
Hence as many eyes were turned upon her, enthroned
|
||
|
alone in this place of honour, against a scarlet back-
|
||
|
ground, as upon the ponies and clown who were
|
||
|
engaged in preliminary exploits in the centre, Turpin
|
||
|
not having yet appeared. Once there, Bathsheba was
|
||
|
forced to make the best of it and remain: she sat
|
||
|
down, spreading her skirts with some dignity over the
|
||
|
unoccupied space on each side of her, and giving a
|
||
|
new and feminine aspect to the pavilion. In a few
|
||
|
minutes she noticed the fat red nape of Coggan's neck
|
||
|
among those standing just below her, and Joseph Poor-
|
||
|
grass's saintly profile a little further on.
|
||
|
The interior was shadowy with a peculiar shade.
|
||
|
The strange luminous semi-opacities of fine autumn
|
||
|
afternoons and eves intensified into Rembrandt effects
|
||
|
the few yellow sunbeams which came through holes
|
||
|
and divisions in the canvas, and spirted like jets of
|
||
|
gold-dust across the dusky blue atmosphere of haze
|
||
|
pervading the tent, until they alighted on inner surfaces
|
||
|
of cloth opposite, and shone like little lamps suspended
|
||
|
there.
|
||
|
Troy, on peeping from his dressing-tent through a
|
||
|
slit for a reconnoitre before entering, saw his unconscious
|
||
|
wife on high before him as described, sitting as queen
|
||
|
of the tournament. He started back in utter confusion,
|
||
|
for although his disguise effectually concealed his person-
|
||
|
ality, he instantly felt that she would be sure to recognize
|
||
|
his voice. He had several times during the day thought
|
||
|
of the possibility of some Weatherbury person or other
|
||
|
appearing and recognizing him; but he had taken the
|
||
|
risk carelessly. If they see me, let them, he had said.
|
||
|
But here was Bathsheba in her own person; and the
|
||
|
reality of the scene was so much intenser than any of
|
||
|
his prefigurings that he felt he had not half enough
|
||
|
considered the point.
|
||
|
She looked so charming and fair that his cool mood
|
||
|
about Weatherbury people was changed. He had not
|
||
|
expected her to exercise this power over him in the
|
||
|
twinkling of an eye. Should he go on, and care nothing?
|
||
|
He could not bring himself to do that. Beyond a politic
|
||
|
wish to remain unknown, there suddenly arose in him
|
||
|
now a sense of shame at the possibility that his
|
||
|
attractive young wife, who already despised him, should
|
||
|
despise him more by discovering him in so mean a
|
||
|
condition after so long a time. He actually blushed
|
||
|
at the thought, and was vexed beyond measure that
|
||
|
his sentiments of dislike towards Weatherbury should
|
||
|
have led him to dally about the country in this way.
|
||
|
But Troy was never more clever than when absolutely
|
||
|
at his wit's end. He hastily thrust aside the curtain
|
||
|
dividing his own little dressing space from that of the
|
||
|
manager and proprietor, who now appeared as the
|
||
|
individual called Tom King as far down as his waist, and
|
||
|
as the aforesaid respectable manager thence to his toes.
|
||
|
"Here's the devil to pay!" said Troy.
|
||
|
"How's that?"
|
||
|
"Why, there's a blackguard creditor in the tent I don't
|
||
|
want to see, who'll discover me and nab me as sure as
|
||
|
Satan if I open my mouth. What's to be done?"
|
||
|
You must appear now, I think."
|
||
|
"I can't."
|
||
|
But the play must proceed."
|
||
|
"Do you give out that Turpin has got a bad cold,
|
||
|
and can't speak his part, but that he'll perform it just
|
||
|
the same without speaking."
|
||
|
The proprietor shook his head.
|
||
|
"Anyhow, play or no play, I won't open my mouth,
|
||
|
said Troy, firmly.
|
||
|
"Very well, then let me see. I tell you how we'll
|
||
|
manage." said the other, who perhaps felt it would be
|
||
|
extremely awkward to offend his leading man just at
|
||
|
this time. "I won't tell 'em anything about your
|
||
|
keeping silence; go on with the piece and say nothing,
|
||
|
doing what you can by a judicious wink now and then,
|
||
|
and a few indomitable nods in the heroic places, you
|
||
|
know. They'll never find out that the speeches are
|
||
|
omitted."
|
||
|
This seemed feasible enough, for Turpin's speeches
|
||
|
were not many or long, the fascination of the piece
|
||
|
lying entirely in the action; and accordingly the play
|
||
|
began, and at the appointed time Black Bess leapt
|
||
|
into the grassy circle amid the plaudits of the spectators.
|
||
|
At the turnpike scene, where Bess and Turpin are hotly
|
||
|
pursued at midnight by the officers, and half-awake
|
||
|
gatekeeper in his tasselled nightcap denies that any
|
||
|
horseman has passed, Coggan uttered a broad-chested
|
||
|
"Well done!" which could be heard all over the fair
|
||
|
above the bleating, and Poorgrass smiled delightedly
|
||
|
with a nice sense of dramatic contrast between our
|
||
|
hero, who coolly leaps the gate, and halting justice in
|
||
|
the form of his enemies, who must needs pull up
|
||
|
cumbersomely and wait to be let through. At the
|
||
|
death of Tom King, he could not refrain from seizing
|
||
|
Coggan by the hand, and whispering, with tears in his
|
||
|
eyes, "Of course he's not really shot, Jan -- only
|
||
|
seemingly!" And when the last sad scene came on,
|
||
|
and the body of the gallant and faithful Bess had to
|
||
|
be carried out on a shutter by twelve volunteers from
|
||
|
among the spectators, nothing could restrain Poorgrass
|
||
|
from lending a hand, exclaiming, as he asked Jan to
|
||
|
join him, "Twill be something to tell of at Warren's in
|
||
|
future years, Jan, and hand down to our children." For
|
||
|
many a year in Weatherbury, Joseph told, with the air
|
||
|
of a man who had had experiences in his time, that he
|
||
|
touched with his own hand the hoof of Bess as she lay
|
||
|
upon the board upon his shoulder. If, as some thinkers
|
||
|
hold, immortality consists in being enshrined in others"
|
||
|
memories, then did Black Bess become immortal that
|
||
|
day if she never had done so before.
|
||
|
Meanwhile Troy had added a few touches to his
|
||
|
ordinary make-up for the character, the more effectually
|
||
|
to disguise himself, and though he had felt faint qualms
|
||
|
on first entering, the metamorphosis effected by judici-
|
||
|
ously "lining" his face with a wire rendered him safe from
|
||
|
the eyes of Bathsheba and her men. Nevertheless, he
|
||
|
was relieved when it was got through.
|
||
|
There a second performance in the evening, and
|
||
|
the tent was lighted up. Troy had taken his part very
|
||
|
quietly this time, venturing to introduce a few speeches
|
||
|
on occasion; and was just concluding it when, whilst
|
||
|
standing at the edge of the circle contiguous to the first
|
||
|
row of spectators, he observed within a yard of him the
|
||
|
eye of a man darted keenly into his side features. Troy
|
||
|
hastily shifted his position, after having recognized in
|
||
|
sworn enemy, who still hung about the outskirts of
|
||
|
At first Troy resolved to take no notice and abide
|
||
|
by circumstances. That he had been recognized by
|
||
|
this man was highly probable; yet there was room for
|
||
|
a doubt. Then the great objection he had felt to
|
||
|
allowing news of his proximity to precede him to
|
||
|
Weatherbury in the event of his return, based on a
|
||
|
feeling that knowledge of his present occupation would
|
||
|
discredit him still further in his wife's eyes, returned
|
||
|
in full force. Moreover, should he resolve not to
|
||
|
return at all, a tale of his being alive and being in
|
||
|
the neighbourhood would be awkward; and he was
|
||
|
anxious to acquire a knowledge of his wife's temporal
|
||
|
affairs before deciding which to do.
|
||
|
In this dilemma Troy at once went out to recon-
|
||
|
noitre. It occurred to him that to find Pennyways, and
|
||
|
make a friend of him if possible, would be a very wise
|
||
|
act. He had put on a thick beard borrowed from the
|
||
|
establishment, and this he wandered about the fair-
|
||
|
field. It was now almost dark, and respectable people
|
||
|
were getting their carts and gigs ready to go home
|
||
|
The largest refreshment booth in the fair was provided
|
||
|
by an innkeeper from a neighbouring town. This was
|
||
|
considered an unexceptionable place for obtaining the
|
||
|
necessary food and rest: Host Trencher (as he was
|
||
|
jauntily called by the local newspaper) being a sub-
|
||
|
stantial man of high repute for catering through all the
|
||
|
county round. The tent was divided into first and
|
||
|
second-class compartments, and at the end of the first-
|
||
|
class division was a yet further enclosure for the most
|
||
|
exclusive, fenced of from the body of the tent by a
|
||
|
luncheon-bar, behind which the host himself stood
|
||
|
bustling about in white apron and shirt-sleeves, and look-
|
||
|
ing as if he had never lived anywhere but under canvas
|
||
|
all his life. In these penetralia were chairs and a table,
|
||
|
which, on candles being lighted, made quite a cozy and
|
||
|
luxurious show, with an urn, plated tea and coffee pots,
|
||
|
china teacups, and plum cakes.
|
||
|
Troy stood at the entrance to the booth, where a
|
||
|
gipsy-woman was frying pancakes over a little fire of
|
||
|
sticks and selling them at a penny a-piece, and looked
|
||
|
over the heads of the people within. He could see
|
||
|
nothing of Pennyways, but he soon discerned Bathsheba
|
||
|
through an opening into the reserved space at the
|
||
|
further end. Troy thereupon retreated, went round the
|
||
|
tent into the darkness, and listened. He could hear
|
||
|
Bathsheba's voice immediately inside the canvas; she
|
||
|
was conversing with a man. A warmth overspread his
|
||
|
face: surely she was not so unprincipled as to flirt in
|
||
|
a fair! He wondered if, then, she reckoned upon his
|
||
|
death as an absolute certainty. To get at the root of
|
||
|
the matter, Troy took a penknife from his pocket and
|
||
|
softly made two little cuts crosswise in the cloth, which,
|
||
|
by folding back the corners left a hole the size of a
|
||
|
wafer. Close to this he placed his face, withdrawing
|
||
|
it again in a movement of surprise; for his eye had
|
||
|
been within twelve inches of the top of Bathsheba's
|
||
|
head. lt was too near to be convenient. He made
|
||
|
another hole a little to one side and lower down, in a
|
||
|
shaded place beside her chair, from which it was easy
|
||
|
and safe to survey her by looking horizontally'.
|
||
|
Troy took in the scene completely now. She was
|
||
|
leaning back, sipping a cup of tea that she held in her
|
||
|
hand, and the owner of the male voice was Boldwood,
|
||
|
who had apparently just brought the cup to her,
|
||
|
Bathsheba, being in a negligent mood, leant so idly
|
||
|
against the canvas that it was pressed to the shape of
|
||
|
her shoulder, and she was, in fact, as good as in Troy's
|
||
|
arms; and he was obliged to keep his breast carefully
|
||
|
backward that she might not feel its warmth through the
|
||
|
cloth as he gazed in.
|
||
|
Troy found unexpected chords of feeling to be stirred
|
||
|
again within him as they had been stirred earlier in the
|
||
|
day. She was handsome as ever, and she was his. It
|
||
|
was some minutes before he could counteract his sudden
|
||
|
wish to go in, and claim her. Then he thought how
|
||
|
the proud girl who had always looked down upon him
|
||
|
even whilst it was to love him, would hate him on dis-
|
||
|
covering him to be a strolling player. Were he to make
|
||
|
himself known, that chapter of his life must at all risks
|
||
|
be kept for ever from her and from the Weatherbury
|
||
|
people, or his name would be a byword throughout the
|
||
|
parish. He would be nicknamed "Turpin" as long as
|
||
|
he lived. Assuredly before he could claim her these few
|
||
|
past months of his existence must be entirely blotted out.
|
||
|
"Shall I get you another cup before you start,
|
||
|
ma'am?" said Farmer Boldwood.
|
||
|
I thank you," said Bathsheba. "But I must be going
|
||
|
at once. It was great neglect in that man to keep me
|
||
|
waiting here till so late. I should have gone two hours
|
||
|
ago, if it had not been for him. I had no idea of
|
||
|
coming in here; but there's nothing so refreshing as a
|
||
|
cup of tea, though I should never have got one if you
|
||
|
hadn't helped me."
|
||
|
Troy scrutinized her cheek as lit by the candles,
|
||
|
and watched each varying shade thereon, and the
|
||
|
white shell-like sinuosities of her little ear. She took
|
||
|
out her purse and was insisting to Boldwood on paying
|
||
|
for her tea for herself, when at this moment Pennyways
|
||
|
entered the tent. Troy trembled: here was his scheme
|
||
|
for respectability endangered at once. He was about
|
||
|
to leave his hole of espial, attempt to follow Pennyways,
|
||
|
and find out if the ex-bailiff had recognized him, when
|
||
|
he was arrested by the conversation, and found he was
|
||
|
too late.
|
||
|
"Excuse me, ma'am." said Pennyways; "I've some
|
||
|
private information for your ear alone."
|
||
|
I cannot hear it now." she said, coldly. That
|
||
|
Bathsheba could not endure this man was evident; in
|
||
|
fact, he was continually coming to her with some tale
|
||
|
or other, by which he might creep into favour at the
|
||
|
expense of persons maligned.
|
||
|
"I'll write it down." said Pennyways, confidently. He
|
||
|
stooped over the table, pulled a leaf from a warped
|
||
|
pocket-book, and wrote upon the paper, in a round
|
||
|
hand --
|
||
|
"YOUR husband is here. I've seen him. Who's the fool
|
||
|
now?"
|
||
|
This he folded small, and handed towards her.
|
||
|
Bathsheba would not read it; she would not even put
|
||
|
out her hand to take it. Pennyways, then, with a laugh
|
||
|
of derision, tossed it into her lap, and, turning away,
|
||
|
left her.
|
||
|
From the words and action of Pennyways, Troy,
|
||
|
though he had not been able to see what the ex-bailiff
|
||
|
wrote, had not a moment's doubt that the note referred
|
||
|
to him. Nothing that he could think of could be done
|
||
|
to check the exposure. "Curse my luck!" he whispered,
|
||
|
and added imprecations which rustled in the gloom like
|
||
|
a pestilent wind. Meanwhile Boldwood said, taking up
|
||
|
the note from her lap --
|
||
|
"Don't you wish to read it, Mrs. Troy? If not,
|
||
|
I'll destroy it."
|
||
|
"Oh, well." said Bathsheba, carelessly, "perhaps it is
|
||
|
unjust not to read it; but I can guess what it is about.
|
||
|
He wants me to recommend him, or it is to tell me of
|
||
|
some little scandal or another connected with my work-
|
||
|
people. He's always doing that."
|
||
|
Bathsheba held the note in her right hand. Bold-
|
||
|
wood handed towards her a plate of cut bread-and-
|
||
|
butter; when, in order to take a slice, she put the note
|
||
|
into her left hand, where she was still holding the purse,
|
||
|
and then allowed her hand to drop beside her close to
|
||
|
the canvas. The moment had come for saving his game,
|
||
|
and Troy impulsively felt that he would play the card,
|
||
|
For yet another time he looked at the fair hand, and
|
||
|
saw the pink finger-tips, and the blue veins of the
|
||
|
wrist, encircled by a bracelet of coral chippings which
|
||
|
she wore: how familiar it all was to him! Then, with
|
||
|
the lightning action in which he was such an adept, he
|
||
|
noiselessly slipped his hand under the bottom of the
|
||
|
tent-cloth, which was far from being pinned tightly down,
|
||
|
lifted it a little way, keeping his eye to the hole,
|
||
|
snatched the note from her fingers, dropped the canvas,
|
||
|
and ran away in the gloom towards the bank and ditch,
|
||
|
smiling at the scream of astonishment which burst from
|
||
|
her. Troy then slid down on the outside of the rampart,
|
||
|
hastened round in the bottom of the entrenchment to
|
||
|
a distance of a hundred yards, ascended again, and
|
||
|
crossed boldly in a slow walk towards the front entrance
|
||
|
of the tent. His object was now to get to Pennyways,
|
||
|
and prevent a repetition of the announcement until
|
||
|
such time as he should choose.
|
||
|
Troy reached the tent door, and standing among the
|
||
|
groups there gathered, looked anxiously for Pennyways,
|
||
|
evidently not wishing to make himself prominent by
|
||
|
inquiring for him. One or two men were speaking of
|
||
|
a daring attempt that had just been made to rob a
|
||
|
young lady by lifting the canvas of the tent beside her.
|
||
|
It was supposed that the rogue had imagined a slip of
|
||
|
paper which she held in her hand to he a bank note,
|
||
|
for he had seized it, and made off with it, leaving her
|
||
|
purse behind. His chagrin and disappointment at dis-
|
||
|
covering its worthlessness would be a good joke, it was
|
||
|
said. However, the occurrence seemed to have become
|
||
|
known to few, for it had not interrupted a fiddler, who
|
||
|
had lately begun playing by the door of the tent, nor
|
||
|
the four bowed old men with grim countenances and
|
||
|
walking-sticks in hand, who were dancing "Major
|
||
|
Malley's Reel" to the tune. Behind these stood
|
||
|
Pennyways. Troy glided up to him, beckoned, and
|
||
|
whispered a few words; and with a mutual glance of
|
||
|
concurrence the two men went into the night together.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER LI
|
||
|
|
||
|
|
||
|
|
||
|
BATHSHEBA TALKS WITH HER OUTRIDER
|
||
|
|
||
|
|
||
|
THE arrangement for getting back again to Weather-
|
||
|
bury had been that Oak should take the place of Poor-
|
||
|
grass in Bathsheba's conveyance and drive her home,
|
||
|
it being discovered late in the afternoon that Joseph
|
||
|
was suffering from his old complaint, a multiplying eye,
|
||
|
and was, therefore, hardly trustworthy as coachman and
|
||
|
protector to a woman. But Oak had found himself so
|
||
|
occupied, and was full of so many cares relative to
|
||
|
those portions of Boldwood's flocks that were not
|
||
|
disposed of, that Bathsheba, without telling Oak or
|
||
|
anybody, resolved to drive home herself, as she had
|
||
|
many times done from Casterbridge Market, and trust
|
||
|
to her good angel for performing the journey un-
|
||
|
molested. But having fallen in with Farmer Boldwood
|
||
|
accidentally (on her part at least) at the refreshment-
|
||
|
tent, she found it impossible to refuse his offer to ride
|
||
|
on horseback beside her as escort. It had grown
|
||
|
twilight before she was aware, but Boldwood assured
|
||
|
her that there was no cause for uneasiness, as the
|
||
|
moon would be up in half-an-hour.
|
||
|
Immediately after the incident in the tent, she had
|
||
|
risen to go -- now absolutely alarmed and really grateful
|
||
|
for her old lover's protection -- though regretting Gabriel's
|
||
|
absence, whose company she would have much preferred,
|
||
|
as being more proper as well as more pleasant, since he
|
||
|
was her own managing-man and servant. This, how-
|
||
|
ever, could not be helped; she would not, on any
|
||
|
consideration, treat Boldwood harshly, having once
|
||
|
already illused him, and the moon having risen, and
|
||
|
the gig being ready, she drove across the hilltop in
|
||
|
the wending way's which led downwards -- to oblivious
|
||
|
obscurity, as it seemed, for the moon and the hill it
|
||
|
flooded with light were in appearance on a level, the
|
||
|
rest of the world lying as a vast shady concave between
|
||
|
them. Boldwood mounted his horse, and followed in
|
||
|
close attendance behind. Thus they descended into
|
||
|
the lowlands, and the sounds of those left on the
|
||
|
hill came like voices from the sky, and the lights were
|
||
|
as those of a camp in heaven. They soon passed the
|
||
|
merry stragglers in the immediate vicinity of the hill,
|
||
|
traversed Kingsbere, and got upon the high road.
|
||
|
The keen instincts of Bathsheba had perceived that
|
||
|
the farmer's staunch devotion to herself was still un-
|
||
|
diminished, and she sympathized deeply. The sight
|
||
|
had quite depressed her this evening; had reminded
|
||
|
her of her folly; she wished anew, as she had wished
|
||
|
many months ago, for some means of making repara-
|
||
|
tion for her fault. Hence her pity for the man who
|
||
|
so persistently loved on to his own injury and per-
|
||
|
manent gloom had betrayed Bathsheba into an injudi-
|
||
|
cious considerateness of manner, which appeared
|
||
|
almost like tenderness, and gave new vigour to the
|
||
|
exquisite dream of a Jacob's seven years service in
|
||
|
poor Boldwood's mind.
|
||
|
He soon found an excuse for advancing from his
|
||
|
position in the rear, and rode close by her side. They
|
||
|
had gone two or three miles in the moonlight, speaking
|
||
|
desultorily across the wheel of her gig concerning the
|
||
|
fair, farming, Oak's usefulness to them both, and other
|
||
|
indifferent subjects, when Boldwood said suddenly
|
||
|
and simply --
|
||
|
"Mrs. Troy, you will marry again some day?"
|
||
|
This point-blank query unmistakably confused her,
|
||
|
it was not till a minute or more had elapsed that
|
||
|
she said, "I have not seriously thought of any such
|
||
|
subject."
|
||
|
"I quite understand that. Yet your late husband
|
||
|
has been dead nearly one year, and -- "
|
||
|
"You forget that his death was never absolutely
|
||
|
proved, and may not have taken place; so that I may
|
||
|
not be really a widow." she said, catching at the straw of
|
||
|
escape that the fact afforded
|
||
|
"Not absolutely proved, perhaps, but it was proved
|
||
|
circumstantially. A man saw him drowning, too. No
|
||
|
reasonable person has any doubt of his death; nor
|
||
|
have you, ma'am, I should imagine.
|
||
|
"O yes I have, or I should have acted differently,"
|
||
|
she said, gently. "From the first, I have had a strange
|
||
|
uaccountable feeling that he could not have perished,
|
||
|
but I have been able to explain that in several ways
|
||
|
since. Even were I half persuaded that I shall see
|
||
|
him no more, I am far from thinking of marriage with
|
||
|
another. I should be very contemptible to indulge in
|
||
|
such a thought."
|
||
|
They were silent now awhile, and having struck into
|
||
|
an unfrequented track across a common, the creaks of
|
||
|
Boldwood's saddle and gig springs were all the
|
||
|
sounds to be heard. Boldwood ended the pause.
|
||
|
"Do you remember when I carried you fainting in
|
||
|
my arms into the King's Arms, in Casterbridge? Every
|
||
|
dog has his day: that was mine."
|
||
|
"I know-I know it all." she said, hurriedly.
|
||
|
"I, for one, shall never cease regretting that events
|
||
|
so fell out as to deny you to me."
|
||
|
"I, too, am very sorry." she said, and then checked
|
||
|
herself. "I mean, you know, I am sorry you thought
|
||
|
I -- "
|
||
|
"I have always this dreary pleasure in thinking over
|
||
|
those past times with you -- that I was something to
|
||
|
you before HE was anything, and that you belonged
|
||
|
ALMOST to me. But, of course, that's nothing. You
|
||
|
never liked me."
|
||
|
"I did; and respected you, too."Do you now?"
|
||
|
"Yes."
|
||
|
"Which?"
|
||
|
"How do you mean which?"
|
||
|
"Do you like me, or do you respect me?"
|
||
|
"I don't know -- at least, I cannot tell you. It is
|
||
|
difficult for a woman to define her feelings in language
|
||
|
which is chiefly made by men to express theirs. My
|
||
|
treatment of you was thoughtless, inexcusable, wicked!
|
||
|
I shall eternally regret it. If there had been anything
|
||
|
I could have done to make amends I would most
|
||
|
gladly have done it -- there was nothing on earth I so
|
||
|
longed to do as to repair the error. But that was not
|
||
|
possible."
|
||
|
"Don't blame yourself -- you were not so far in the
|
||
|
wrong as you suppose. Bathsheba, suppose you had
|
||
|
real complete proof that you are what, in fact, you are
|
||
|
-- a widow -- would you repair the old wrong to me by
|
||
|
marrying me?"
|
||
|
"I cannot say. I shouldn't yet, at any rate."
|
||
|
"But you might at some future time of your life?"
|
||
|
"O yes, I might at some time."
|
||
|
"Well, then, do you know that without further proof
|
||
|
of any kind you may marry again in about six years
|
||
|
from the present -- subject to nobody's objection or
|
||
|
blame?"
|
||
|
"O yes." she said, quickly. "I know all that. But
|
||
|
don't talk of it -- seven or six years -- where may we all
|
||
|
be by that time?"
|
||
|
"They will soon glide by, and it will seem an
|
||
|
astonishingly short time to look back upon when they
|
||
|
are past -- much less than to look forward to now."
|
||
|
"Yes, yes; I have found that in my own experience."
|
||
|
"Now listen once more." Boldwood pleaded. "If I
|
||
|
wait that time, will you marry me? You own that you
|
||
|
owe me amends -- let that be your way of making them."
|
||
|
"But, Mr. Boldwood -- six years -- "
|
||
|
"Do you want to be the wife of any other man?"
|
||
|
"No indeed! I mean, that I don't like to talk
|
||
|
about this matter now. Perhaps it is not proper, and
|
||
|
I ought not to allow it. Let us drop it. My husband
|
||
|
may be living, as I said."
|
||
|
"Of course, I'll drop the subject if you wish. But
|
||
|
propriety has nothing to do with reasons. I am a
|
||
|
middle-aged man, willing to protect you for the
|
||
|
remainder of our lives. On your side, at least, there
|
||
|
is no passion or blamable haste -- on mine, perhaps,
|
||
|
there is. But I can't help seeing that if you choose
|
||
|
from a feeling of pity, and, as you say, a wish to make
|
||
|
amends, to make a bargain with me for a far-ahead
|
||
|
time -- an agreement which will set all things right
|
||
|
and make me happy, late though it may be -- there is
|
||
|
no fault to be found with you as a woman. Hadn't
|
||
|
I the first place beside you? Haven't you been
|
||
|
almost mine once already? Surely you can say to
|
||
|
me as much as this, you will have me back again
|
||
|
should circumstances permit? Now, pray speak! O
|
||
|
Bathsheba, promise -- it is only a little promise -- that
|
||
|
if you marry again, you will marry me!"
|
||
|
His tone was so excited that she almost feared him
|
||
|
at this moment, even whilst she sympathized. It was
|
||
|
a simple physical fear -- the weak of the strong; there
|
||
|
no emotional aversion or inner repugnance. She
|
||
|
said, with some distress in her voice, for she remembered
|
||
|
vividly his outburst on the Yalbury Road, and shrank
|
||
|
from a repetition of his anger: --
|
||
|
"I will never marry another man whilst you wish me
|
||
|
to be your wife, whatever comes -- but to say more -- you
|
||
|
have taken me so by surprise -- "
|
||
|
"But let it stand in these simple words -- that in six
|
||
|
years' time you will be my wife? Unexpected accidents
|
||
|
we'll not mention, because those, of course, must be
|
||
|
given way to. Now, this time I know you will keep
|
||
|
your word."
|
||
|
"That's why I hesitate to give it."
|
||
|
"But do give it! Remember the past, and be kind."
|
||
|
She breathed; and then said mournfully: "O what
|
||
|
shall I do? I don't love you, and I much fear that I
|
||
|
never shall love you as much as a woman ought to love
|
||
|
a husband. If you, sir, know that, and I can yet give
|
||
|
you happiness by a mere promise to marry at the end of
|
||
|
six years, if my husband should not come back, it is a
|
||
|
great honour to me. And if you value such an act of
|
||
|
friendship from a woman who doesn't esteem her-
|
||
|
self as she did, and has little love left, why it
|
||
|
will -- "
|
||
|
"Promise!"
|
||
|
" -- Consider, if I cannot promise soon."
|
||
|
"But soon is perhaps never?"
|
||
|
"O no, it is not! I mean soon. Christmas, we'll
|
||
|
say."
|
||
|
"Christmas!" He said nothing further till he
|
||
|
added: "Well, I'll say no more to you about it till that
|
||
|
time."
|
||
|
Bathsheba was in a very peculiar state of mind,
|
||
|
which showed how entirely the soul is the slave of the
|
||
|
body, the ethereal spirit dependent for its quality upon
|
||
|
the tangible flesh and blood. It is hardly too much to
|
||
|
say that she felt coerced by a force stronger than her
|
||
|
own will, not only into the act of promising upon this
|
||
|
singularly remote and vague matter, but into the emo-
|
||
|
tion of fancying that she ought to promise. When the
|
||
|
weeks intervening between the night of this conversa-
|
||
|
tion and Christmas day began perceptibly to diminish,
|
||
|
her anxiety and perplexity increased.
|
||
|
One day she was led by an accident into an oddly
|
||
|
confidential dialogue with Gabriel about her difficulty
|
||
|
It afforded her a little relief -- of a dull and cheerless
|
||
|
kind. They were auditing accounts, and something
|
||
|
occurred in the course of their labours which led Oak
|
||
|
to say, speaking of Boldwood, " He'll never forget you,
|
||
|
ma'am, never."
|
||
|
Then out came her trouble before she was aware;
|
||
|
and she told him how she had again got into the toils;
|
||
|
what Boldwood had asked her, and how he was ex-
|
||
|
pecting her assent. "The most mournful reason of all
|
||
|
for my agreeing to it." she said sadly, "and the true
|
||
|
reason why I think to do so for good or for evil, is this
|
||
|
-- it is a thing I have not breathed to a living soul as
|
||
|
yet-i believe that if I don't give my word, he'll go out
|
||
|
of his mind."
|
||
|
"Really, do ye?" said Gabriel, gravely.
|
||
|
"I believe this." she continued, with reckless frank-
|
||
|
ness; "and Heaven knows I say it in a spirit the very
|
||
|
reverse of vain, for I am grieved and troubled to my
|
||
|
soul about it-i believe I hold that man's future in my
|
||
|
hand. His career depends entirely upon my treatment
|
||
|
of him. O Gabriel, I tremble at my responsibility, for
|
||
|
it is terrible!"
|
||
|
"Well, I think this much, ma'am, as I told you years
|
||
|
ago." said Oak, "that his life is a total blank whenever
|
||
|
he isn't hoping for 'ee; but I can't suppose-i hope
|
||
|
that nothing so dreadful hangs on to it as you fancy.
|
||
|
His natural manner has always been dark and strange,
|
||
|
you know. But since the case is so sad and oddlike,
|
||
|
why don't ye give the conditional promise? I think I
|
||
|
would."
|
||
|
"But is it right? Some rash acts of my past life
|
||
|
have taught me that a watched woman must have very
|
||
|
much circumspection to retain only a very little credit,
|
||
|
and I do want and long to be discreet in this! And
|
||
|
six years -- why we may all be in our graves by that
|
||
|
BATHSHEBA TALKS WITH OAK
|
||
|
time, even if Mr. Troy does not come back again, which
|
||
|
he may not impossibly do! Such thoughts give a sort
|
||
|
of absurdity to the scheme. Now, isn't it preposterous,
|
||
|
Gabriel? However he came to dream of it, I cannot think.
|
||
|
But is it wrong? You know -- you are older than I."
|
||
|
"Eight years older, ma'am."
|
||
|
"Yes, eight years -- and is it wrong?"
|
||
|
"Perhaps it would be an uncommon agreement for a
|
||
|
man and woman to make: I don't see anything really
|
||
|
wrong about it." said Oak, slowly. "In fact the very
|
||
|
thing that makes it doubtful if you ought to marry en
|
||
|
under any condition, that is, your not caring about him
|
||
|
-- for I may suppose -- -- "
|
||
|
"Yes, you may suppose that love is wanting." she
|
||
|
said shortly. "Love is an utterly bygone, sorry, worn-
|
||
|
out, miserable thing with me -- for him or any one else."
|
||
|
"Well, your want of love seems to me the one thing
|
||
|
that takes away harm from such an agreement with him.
|
||
|
If wild heat had to do wi' it, making ye long to over-
|
||
|
come the awkwardness about your husband's vanishing,
|
||
|
it mid be wrong; but a cold-hearted agreement to oblige
|
||
|
a man seems different, somehow. The real sin, ma'am
|
||
|
in my mind, lies in thinking of ever wedding wi' a man
|
||
|
you don't love honest and true."
|
||
|
"That I'm willing to pay the penalty of." said Bath-
|
||
|
sheba, firmly. "You know, Gabriel, this is what I can-
|
||
|
not get off my conscience -- that I once seriously injured
|
||
|
him in sheer idleness. If I had never played a trick
|
||
|
upon him, he would never have wanted to marry me.
|
||
|
O if I could only pay some heavy damages in money
|
||
|
to him for the harm I did, and so get the sin off my
|
||
|
soul that way!.. Well, there's the debt, which can
|
||
|
only be discharged in one way, and I believe I am
|
||
|
bound to do it if it honestly lies in my power, without
|
||
|
any consideration of my own future at all. When a
|
||
|
rake gambles away his expectations, the fact that it is
|
||
|
an inconvenient debt doesn't make him the less liable.
|
||
|
I've been a rake, and the single point I ask you is, con-
|
||
|
sidering that my own scruples, and the fact that in the
|
||
|
eye of the law my husband is only missing, will keep
|
||
|
any man from marrying me until seven years have
|
||
|
passed -- am I free to entertain such an idea, even
|
||
|
though 'tis a sort of penance -- for it will be that? I
|
||
|
hate the act of marriage under such circumstances, and
|
||
|
the class of women I should seem to belong to by doing
|
||
|
it!"
|
||
|
"It seems to me that all depends upon whe'r you
|
||
|
think, as everybody else do, that your husband is
|
||
|
dead."
|
||
|
"I shall get to, I suppose, because I cannot help
|
||
|
feeling what would have brought him back long before
|
||
|
this time if he had lived."
|
||
|
"Well, then, in religious sense you will be as free
|
||
|
to THINK o' marrying again as any real widow of one
|
||
|
year's standing. But why don't ye ask Mr. Thirdly's
|
||
|
advice on how to treat Mr. Boldwood?"
|
||
|
"No. When I want a broad-minded opinion for
|
||
|
general enlightenment, distinct from special advice, I
|
||
|
never go to a man who deals in the subject pro-
|
||
|
fessionally. So I like the parson's opinion on law, the
|
||
|
lawyer's on doctoring, the doctor's on business, and my
|
||
|
business-man's -- that is, yours -- on morals."
|
||
|
"And on love -- -- "
|
||
|
"My own."
|
||
|
"I'm afraid there's a hitch in that argument." said
|
||
|
Oak, with a grave smile.
|
||
|
She did not reply at once, and then saying, "Good
|
||
|
evening Mr. Oak." went away.
|
||
|
She had spoken frankly, and neither asked nor ex-
|
||
|
pected any reply from Gabriel more satisfactory than
|
||
|
that she had obtained. Yet in the centremost parts of
|
||
|
her complicated heart there existed at this minute a
|
||
|
little pang of disappointment, for a reason she would
|
||
|
not allow herself to recognize. Oak had not once
|
||
|
wished her free that he might marry her himself -- had
|
||
|
not once said, "I could wait for you as well as he."
|
||
|
That was the insect sting. Not that she would have
|
||
|
listened to any such hypothesis. O no -- for wasn't
|
||
|
she saying all the time that such thoughts of the future
|
||
|
were improper, and wasn't Gabriel far too poor a man
|
||
|
to speak sentiment to her? Yet he might have just
|
||
|
hinted about that old love of his, and asked, in a playful
|
||
|
off-hand way, if he might speak of it. It would have
|
||
|
seemed pretty and sweet, if no more; and then she
|
||
|
would have shown how kind and inoffensive a woman's
|
||
|
"No" can sometimes be. But to give such cool advice
|
||
|
-- the very advice she had asked for -- it ruffled our
|
||
|
heroine all the afternoon.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER LII
|
||
|
|
||
|
|
||
|
|
||
|
CONVERGING COURSES
|
||
|
|
||
|
|
||
|
I
|
||
|
CHRISTMAS-EVE came, and a party that Boldwood
|
||
|
was to give in the evening was the great subject of talk
|
||
|
in Weatherbury. It was not that the rarity of Christmas
|
||
|
parties in the parish made this one a wonder, but that
|
||
|
Boldwood should be the giver. The announcement
|
||
|
had had an abnormal and incongruous sound, as if one
|
||
|
should hear of croquet-playing in a cathedral aisle, or
|
||
|
that some much-respected judge was going upon the
|
||
|
stage. That the party was intended to be a truly jovial
|
||
|
one there was no room for doubt. A large bough of
|
||
|
mistletoe had been brought from the woods that day, and
|
||
|
suspended in the hall of the bachelor's home. Holly
|
||
|
and ivy had followed in armfuls. From six that morning
|
||
|
till past noon the huge wood fire in the kitchen roared
|
||
|
and sparkled at its highest, the kettle, the saucepan, and
|
||
|
the threelegged pot appearing in the midst of the flames
|
||
|
like Shadrach, Meshach, and Abednego; moreover,
|
||
|
roasting and basting operations were continually
|
||
|
carried on in front of the genial blaze.
|
||
|
As it grew later the fire was made up in the large
|
||
|
long hall into which the staircase descended, and all
|
||
|
encumbrances were cleared out for dancing. The log
|
||
|
which was to form the back-brand of the evening fire
|
||
|
was the uncleft trunk of a tree, so unwieldy that it could
|
||
|
be neither brought nor rolled to its place; and accord-
|
||
|
ingly two men were to be observed dragging and heaving
|
||
|
it in by chains and levers as the hour of assembly drew
|
||
|
near.
|
||
|
II
|
||
|
In spite of all this, the spirit of revelry was wanting
|
||
|
In the atmosphere of the house. Such a thing had
|
||
|
never been attempted before by its owner, and it was
|
||
|
now done as by a wrench. Intended gaieties would
|
||
|
insist upon appearing like solemn grandeurs, the organ-
|
||
|
ization of the whole effort was carried out coldly, by
|
||
|
hirelings, and a shadow seemed to move about the
|
||
|
rooms, saying that the proceedings were unnatural to
|
||
|
the place and the lone man who lived therein, and hence
|
||
|
not good.
|
||
|
Bathsheba was at this time in her room, dressing for
|
||
|
the event. She had called for candles, and Liddy
|
||
|
entered and placed one on each side of her mistress's
|
||
|
glass.
|
||
|
"Don't go away, Liddy." said Bathsheba, almost
|
||
|
timidly." I am foolishly agitated-i cannot tell why.
|
||
|
I wish I had not been obliged to go to this dance; but
|
||
|
there's no escaping now. I have not spoken to Mr.
|
||
|
Boldwood since the autumn, when I promised to see
|
||
|
him at Christmas on business, but I had no idea there
|
||
|
was to be anything of this kind."
|
||
|
"But I would go now." said Liddy, who was going
|
||
|
with her; for Boldwood had been indiscriminate in his
|
||
|
invitations.
|
||
|
"Yes, I shall make my appearance, of course." said
|
||
|
Bathsheba." But I am THE CAUSE of the party, and that
|
||
|
upsets me! -- Don't tell, Liddy."
|
||
|
"O no, ma'am, You the cause of it, ma'am?"
|
||
|
"Yes. I am the reason of the party-i. If it had
|
||
|
not been for me, there would never have been one. I
|
||
|
can't explain any more -- there's no more to be explained.
|
||
|
I wish I had never seen Weatherbury."
|
||
|
"That's wicked of you -- to wish to be worse off than
|
||
|
you are."
|
||
|
"No, Liddy. I have never been free from trouble
|
||
|
since I have lived here, and this party is likely to bring
|
||
|
me more. Now, fetch my black silk dress, and see how
|
||
|
it sits upon me."
|
||
|
"But you will leave off that, surely, ma'am? You
|
||
|
have been a widowlady fourteen months, and ought to
|
||
|
brighten up a little on such a night as this."
|
||
|
"Is it necessary? No; I will appear as usual, for if
|
||
|
I were to wear any light dress people would say things
|
||
|
about me, and I should seem to he rejoicing when I am
|
||
|
solemn all the time. The party doesn't suit me a bit;
|
||
|
but never mind, stay and help to finish me off."
|
||
|
III
|
||
|
Boldwood was dressing also at this hour. A tailor
|
||
|
from Casterbridge was with him, assisting him in the
|
||
|
operation of trying on a new coat that had just been
|
||
|
brought home.
|
||
|
Never had Boldwood been so fastidious, unreasonable
|
||
|
about the fit, and generally difficult to please. The
|
||
|
tailor walked round and round him, tugged at the waist,
|
||
|
pulled the sleeve, pressed out the collar, and for the
|
||
|
first time in his experience Boldwood was not bored-
|
||
|
Times had been when the farmer had exclaimed against
|
||
|
all such niceties as childish, but now no philosophic or
|
||
|
hasty rebuke whatever was provoked by this man for
|
||
|
attaching as much importance to a crease in the coat
|
||
|
as to an earthquake in South America. Boldwood at
|
||
|
last expressed himself nearly satisfied, and paid the bill,
|
||
|
the tailor passing out of the door just as Oak came in
|
||
|
to report progress for the day.
|
||
|
"Oh, Oak." said Boldwood. "I shall of course see
|
||
|
you here to-night. Make yourself merry. I am deter-
|
||
|
mined that neither expense nor trouble shall be spared."
|
||
|
"I'll try to be here, sir, though perhaps it may not
|
||
|
be very early." said Gabriel, quietly. "I am glad indeed
|
||
|
to see such a change in 'ee from what it used to be."
|
||
|
"Yes-i must own it-i am bright to-night: cheerful
|
||
|
and more than cheerful-so much so that I am almost
|
||
|
sad again with the sense that all of it is passing away.
|
||
|
And sometimes, when I am excessively hopeful and
|
||
|
blithe, a trouble is looming in the distance: so that I
|
||
|
often get to look upon gloom in me with content, and
|
||
|
to fear a happy mood. Still this may be absurd-i feel
|
||
|
that it is absurd. Perhaps my day is dawning at last."
|
||
|
"I hope it 'ill be a long and a fair one."
|
||
|
"Thank you -- thank you. Yet perhaps my cheerful
|
||
|
mess rests on a slender hope. And yet I trust my hope.
|
||
|
It is faith, not hope. I think this time I reckon with
|
||
|
my host. -- Oak, my hands are a little shaky, or some-
|
||
|
thing; I can't tie this neckerchief properly. Perhaps
|
||
|
you will tie it for me. The fact is, I have not been well
|
||
|
lately, you know."
|
||
|
"I am sorry to hear that, sir."
|
||
|
"Oh, it's nothing. I want it done as well as you can,
|
||
|
please. Is there any late knot in fashion, Oak?"
|
||
|
"I don't know, sir." said Oak. His tone had sunk to
|
||
|
sadness.
|
||
|
Boldwood approached Gabriel, and as Oak tied the
|
||
|
neckerchief the farmer went on feverishly --
|
||
|
"Does a woman keep her promise, Gabriel?"
|
||
|
"If it is not inconvenient to her she may."
|
||
|
"-- Or rather an implied promise."
|
||
|
"I won't answer for her implying." said Oak, with
|
||
|
faint bitterness. "That's a word as full o' holes as a
|
||
|
sieve with them."
|
||
|
Oak, don't talk like that. You have got quite
|
||
|
cynical lately -- how is it? We seem to have shifted our
|
||
|
positions: I have become the young and hopeful man,
|
||
|
and you the old and unbelieving one. However, does
|
||
|
a woman keep a promise, not to marry, but to enter on
|
||
|
an engagement to marry at some time? Now you
|
||
|
know women better than I -- tell me."
|
||
|
"I am afeard you honour my understanding too much.
|
||
|
However, she may keep such a promise, if it is made
|
||
|
with an honest meaning to repair a wrong."
|
||
|
"It has not gone far yet, but I think it will soon --
|
||
|
yes, I know it will." he said, in an impulsive whisper.
|
||
|
"I have pressed her upon the subject, and she inclines
|
||
|
to be kind to me, and to think of me as a husband at
|
||
|
a long future time, and that's enough for me. How
|
||
|
can I expect more? She has a notion that a woman
|
||
|
should not marry within seven years of her husband's
|
||
|
disappearance -- that her own self shouldn't, I mean --
|
||
|
because his body was not found. It may be merely
|
||
|
this legal reason which influences her, or it may be a
|
||
|
religious one, but she is reluctant to talk on the point-
|
||
|
Yet she has promised -- implied -- that she will ratify an
|
||
|
engagement to-night."
|
||
|
"Seven years." murmured Oak.
|
||
|
"No, no -- it's no such thing!" he said, with im-
|
||
|
patience. Five years, nine months, and a few days.
|
||
|
Fifteen months nearly have passed since he vanished,
|
||
|
and is there anything so wonderful in an engagement of
|
||
|
little more than five years?"
|
||
|
"It seems long in a forward view. Don't build too
|
||
|
much upon such promises, sir. Remember, you have
|
||
|
once be'n deceived. Her meaning may be good; but
|
||
|
there -- she's young yet."
|
||
|
"Deceived? Never!" said Boldwood, vehemently.
|
||
|
"She never promised me at that first time, and hence
|
||
|
she did not break her promise! If she promises me,
|
||
|
she'll marry me, Bathsheba is a woman to her word."
|
||
|
IV
|
||
|
Troy was sitting in a corner of The White Hart
|
||
|
tavern at Casterbridge, smoking and drinking a steaming
|
||
|
mixture from a glass. A knock was given at the door,
|
||
|
and Pennyways entered.
|
||
|
"Well, have you seen him?" Troy inquired, pointing
|
||
|
to a chair.
|
||
|
"Boldwood?"
|
||
|
"No -- Lawyer Long."
|
||
|
"He wadn' at home. I went there first, too."
|
||
|
"That's a nuisance."
|
||
|
"'Tis rather, I suppose."
|
||
|
"Yet I don't see that, because a man appears to be
|
||
|
drowned and was not, he should be liable for anything.
|
||
|
I shan't ask any lawyer -- not I."
|
||
|
"But that's not it, exactly. If a man changes his
|
||
|
name and so forth, and takes steps to deceive the world
|
||
|
and his own wife, he's a cheat, and that in the eye of
|
||
|
the law is ayless a rogue, and that is ayless a lammocken
|
||
|
vagabond; and that's a punishable situation."
|
||
|
"Ha-ha! Well done, Pennyways." Troy had laughed,
|
||
|
but it was with some anxiety that he said, "Now, what
|
||
|
I want to know is this, do you think there's really
|
||
|
anything going on between her and Boldwood? Upon
|
||
|
my soul, I should never have believed it! How she.
|
||
|
must detest me! Have you found out whether she
|
||
|
has encouraged him?"
|
||
|
"I haen't been able to learn. There's a deal of
|
||
|
feeling on his side seemingly, but I don't answer for
|
||
|
her. I didn't know a word about any such thing till
|
||
|
yesterday, and all I heard then was that she was gwine
|
||
|
to the party at his house to-night. This is the first
|
||
|
time she has ever gone there, they say. And they say
|
||
|
that she've not so much as spoke to him since they were
|
||
|
at Greenhill Fair: but what can folk believe o't? How-
|
||
|
ever, she's not fond of him -- quite offish and quite care
|
||
|
less, I know."
|
||
|
"I'm not so sure of that.... She's a handsome
|
||
|
woman, Pennyways, is she not? Own that you never
|
||
|
saw a finer or more splendid creature in your life.
|
||
|
Upon my honour, when I set eyes upon her that day
|
||
|
I wondered what I could have been made of to be able
|
||
|
to leave her by herself so long. And then I was
|
||
|
hampered with that bothering show, which I'm free of
|
||
|
at last, thank the stars." He smoked on awhile, and
|
||
|
then added, "How did she look when you passed by
|
||
|
yesterday?"
|
||
|
"Oh, she took no great heed of me, ye may well
|
||
|
fancy; but she looked well enough, far's I know. Just
|
||
|
flashed her haughty eyes upon my poor scram body, and
|
||
|
then let them go past me to what was yond, much as if
|
||
|
I'd been no more than a leafless tree. She had just got
|
||
|
off her mare to look at the last wring-down of cider for
|
||
|
the year; she had been riding, and so her colours were
|
||
|
up and her breath rather quick, so that her bosom
|
||
|
plimmed and feli-plimmed and feli-every time plain
|
||
|
to my eye. Ay, and there were the fellers round her
|
||
|
wringing down the cheese and bustling about and
|
||
|
saying, Ware o' the pommy, ma'am: 'twill spoil yer
|
||
|
gown. "Never mind me," says she. Then Gabe
|
||
|
brought her some of the new cider, and she must
|
||
|
needs go drinking it through a strawmote, and not in
|
||
|
a nateral way at all. "Liddy," says she, "bring indoors
|
||
|
a few gallons, and I'll make some cider-wine." Sergeant,
|
||
|
I was no more to her than a morsel of scroffin the fuel
|
||
|
house!"
|
||
|
"I must go and find her out at once -- O yes, I see
|
||
|
that-i must go. Oak is head man still, isn't he?"
|
||
|
"Yes, 'a b'lieve. And at Little Weatherbury Farm
|
||
|
too. He manages everything."
|
||
|
"Twill puzzle him to manage her, or any other man
|
||
|
of his compass!"
|
||
|
"I don't know about that. She can't do without
|
||
|
him, and knowing it well he's pretty independent.
|
||
|
And she've a few soft corners to her mind, though
|
||
|
I've never been able to get into one, the devil's in't!"
|
||
|
"Ah baily she's a notch above you, and you must
|
||
|
own it: a higher class of animal-a finer tissue. How-
|
||
|
ever, stick to me, and neither this haughty goddess,
|
||
|
dashing piece of womanhood, Juno-wife of mine (Juno
|
||
|
was a goddess, you know), nor anybody else shall hurt
|
||
|
you. But all this wants looking into, I perceive.
|
||
|
What with one thing and another, I see that my work
|
||
|
is well cut out for me."
|
||
|
V
|
||
|
"How do I look to-night, Liddy?" said Bathsheba,
|
||
|
giving a final adjustment to her dress before leaving the
|
||
|
glass.
|
||
|
"I never saw you look so well before. Yes-i'll tell
|
||
|
you when you looked like it -- that night, a year and a
|
||
|
half ago, when you came in so wildlike, and scolded us
|
||
|
for making remarks about you and Mr. Troy."
|
||
|
"Everybody will think that I am setting myself to
|
||
|
captivate Mr. Boldwood, I suppose." she murmured.
|
||
|
"At least they'll say so. Can't my hair be brushed
|
||
|
down a little flatter? I dread going -- yet I dread the
|
||
|
risk of wounding him by staying away."Anyhow, ma'am, you can't well be
|
||
|
dressed plainer
|
||
|
than you are, unless you go in sackcloth at once. 'Tis
|
||
|
your excitement is what makes you look so noticeable
|
||
|
to-night."
|
||
|
"I don't know what's the matter, I feel wretched at
|
||
|
one time, and buoyant at another. I wish I could have
|
||
|
continued quite alone as I have been for the last year
|
||
|
or so, with no hopes and no fears, and no pleasure and
|
||
|
no grief.
|
||
|
"Now just suppose Mr. Boldwood should ask you
|
||
|
-- only just suppose it -- to run away with him, what
|
||
|
would you do, ma'am?"
|
||
|
"Liddy -- none of that." said Bathsheba, gravely.
|
||
|
"Mind, I won't hear joking on any such matter. Do
|
||
|
you hear?"
|
||
|
"I beg pardon, ma'am. But knowing what rum
|
||
|
things we women be, I just said -- however, I won't
|
||
|
speak of it again."
|
||
|
"No marrying for me yet for many a year; if ever,
|
||
|
"twill be for reasons very, very different from those you
|
||
|
think, or others will believe! Now get my cloak, for it
|
||
|
is time to go."
|
||
|
VI
|
||
|
"Oak, said Boldwood, "before you go I want to
|
||
|
mention what has been passing in my mind lately --
|
||
|
that little arrangement we made about your share in the
|
||
|
farm I mean. That share is small, too small, consider-
|
||
|
ing how little I attend to business now, and how much
|
||
|
time and thought you give to it. Well, since the world
|
||
|
is brightening for me, I want to show my sense of it
|
||
|
by increasing your proportion in the partnership. I'll
|
||
|
make a memorandum of the arrangement which struck
|
||
|
me as likely to be convenient, for I haven't time to talk
|
||
|
about it now; and then we'll discuss it at our leisure.
|
||
|
My intention is ultimately to retire from the manage-
|
||
|
ment altogether, and until you can take all the expendi-
|
||
|
ture upon your shoulders, I'll be a sleeping partner in
|
||
|
the stock. Then, if I marry her -- and I hope-i feel I
|
||
|
shall, why -- -- "
|
||
|
"Pray don't speak of it, sir." said Oak, hastily. "We
|
||
|
don't know what may happen. So many upsets may
|
||
|
befall 'ee. There's many a slip, as they say -- and I
|
||
|
would advise you-i know you'll pardon me this once --
|
||
|
not to be TOO SURE."
|
||
|
"I know, I know. But the feeling I have about in-
|
||
|
creasing your share is on account of what I know of you
|
||
|
Oak, I have learnt a little about your secret: your
|
||
|
interest in her is more than that of bailiff for an em-
|
||
|
ployer. But you have behaved like a man, and I, as a
|
||
|
sort of successful rival-successful partly through your
|
||
|
goodness of heart -- should like definitely to show my
|
||
|
sense of your friendship under what must have been a
|
||
|
great pain to you."
|
||
|
"O that's not necessary, thank 'ee." said Oak,
|
||
|
hurriedly. "I must get used to such as that; other
|
||
|
men have, and so shall I."
|
||
|
Oak then left him. He was uneasy on Boldwood's
|
||
|
account, for he saw anew that this constant passion
|
||
|
of the farmer made him not the man he once had
|
||
|
been.
|
||
|
As Boldwood continued awhile in his room alone --
|
||
|
ready and dressed to receive his company -- the mood of
|
||
|
anxiety about his appearance seemed to pass away, and
|
||
|
to be succeeded by a deep solemnity. He looked out
|
||
|
of the window, and regarded the dim outline of the trees
|
||
|
upon the sky, and the twilight deepening to darkness.
|
||
|
Then he went to a locked closet, and took from
|
||
|
a locked drawer therein a small circular case the size of
|
||
|
a pillbox, and was about to put it into his pocket. But
|
||
|
he lingered to open the cover and take a momentary
|
||
|
glance inside. It contained a woman's finger-ring, set
|
||
|
all the way round with small diamonds, and from its
|
||
|
appearance had evidently been recently purchased.
|
||
|
Boldwood's eyes dwelt upon its many sparkles a long
|
||
|
time, though that its material aspect concerned him
|
||
|
little was plain from his manner and mien, which were
|
||
|
those of a mind following out the presumed thread of
|
||
|
that jewel's future history.
|
||
|
The noise of wheels at the front of the house became
|
||
|
audible. Boldwood closed the box, stowed it away
|
||
|
carefully in his pocket, and went out upon the landing.
|
||
|
The old man who was his indoor factotum came at the
|
||
|
same moment to the foot of the stairs.
|
||
|
"They be coming, sir -- lots of 'em -- a-foot and a-
|
||
|
driving!"
|
||
|
"I was coming down this moment. Those wheels I
|
||
|
heard -- is it Mrs. Troy?"
|
||
|
"No, sir -- 'tis not she yet."
|
||
|
A reserved and sombre expression had returned to
|
||
|
Boldwood's face again, but it poorly cloaked his feel-
|
||
|
ings when he pronounced Bathsheba's name; and his
|
||
|
feverish anxiety continued to show its existence by a
|
||
|
galloping motion of his fingers upon the side of his thigh
|
||
|
as he went down the stairs.
|
||
|
VII
|
||
|
"How does this cover me?" said Troy to Pennyways,
|
||
|
"Nobody would recognize me now, I'm sure."
|
||
|
He was buttoning on a heavy grey overcoat of
|
||
|
Noachian cut, with cape and high collar, the latter being
|
||
|
erect and rigid, like a girdling wall, and nearly reaching
|
||
|
to the verge of travelling cap which was pulled down
|
||
|
over his ears.
|
||
|
Pennyways snuffed the candle, and then looked up
|
||
|
and deliberately inspected Troy
|
||
|
"You've made up your mind to go then?" he
|
||
|
said.
|
||
|
"Made up my mind? Yes; of course I have."
|
||
|
"Why not write to her? 'Tis a very queer corner
|
||
|
that you have got into, sergeant. You see all these things
|
||
|
will come to light if you go back, and they won't sound
|
||
|
well at all. Faith, if I was you I'd even bide as you be
|
||
|
-- a single man of the name of Francis. A good wife is
|
||
|
good, but the best wife is not so good as no wife at all.
|
||
|
Now that's my outspoke mind, and I've been called a
|
||
|
long-headed feller here and there."
|
||
|
"All nonsense!" said Troy, angrily. "There she is
|
||
|
with plenty of money, and a house and farm, and
|
||
|
horses, and comfort, and here am I living from hand to
|
||
|
mouth -- a needy adventurer. Besides, it is no use
|
||
|
talking now; it is too late, and I am glad of it; I've been
|
||
|
seen and recognized here this very afternoon. I should
|
||
|
have gone back to her the day after the fair, if it hadn't
|
||
|
been for you talking about the law, and rubbish about
|
||
|
getting a separation; and I don't put it off any longer.
|
||
|
What the deuce put it into my head to run away at all,
|
||
|
I can't think! Humbugging sentiment -- that's what it
|
||
|
was. But what man on earth was to know that his wife
|
||
|
would be in such a hurry to get rid of his name!"
|
||
|
"I should have known it. She's bad enough for
|
||
|
anything."
|
||
|
"Pennyways, mind who you are talking to."
|
||
|
"Well, sergeant, all I say is this, that if I were you I'd
|
||
|
go abroad again where I came from -- 'tisn't too late to do
|
||
|
it now. I wouldn't stir up the business and get a bad
|
||
|
name for the sake of living with her -- for all that about
|
||
|
your play-acting is sure to come out, you know, although
|
||
|
you think otherwise. My eyes and limbs, there'll be a
|
||
|
racket if you go back just now -- in the middle of Bold-
|
||
|
wood's Christmasing!"
|
||
|
"H'm, yes. I expect I shall not be a very welcome
|
||
|
guest if he has her there." said the sergeant, with a slight
|
||
|
laugh. "A sort of Alonzo the Brave; and when I go in
|
||
|
the guests will sit in silence and fear, and all laughter
|
||
|
and pleasure will be hushed, and the lights in the
|
||
|
chamber burn blue, and the worms -- Ugh, horrible! --
|
||
|
Ring for some more brandy, Pennyways, I felt an
|
||
|
awful shudder just then! Well, what is there besides?
|
||
|
A stick-i must have a walking-stick."
|
||
|
Pennyways now felt himself to be in something of a
|
||
|
difficulty, for should Bathsheba and Troy become recon-
|
||
|
ciled it would be necessary to regain her good opinion
|
||
|
if he would secure the patronage of her husband. I
|
||
|
sometimes think she likes you yet, and is a good woman
|
||
|
at bottom." he said, as a saving sentence. "But there's
|
||
|
no telling to a certainty from a body's outside. Well,
|
||
|
you'll do as you like about going, of course, sergeant,
|
||
|
and as for me, I'll do as you tell me."
|
||
|
"Now, let me see what the time is." said Troy, after
|
||
|
emptying his glass in one draught as he stood. 'Half-
|
||
|
past six o'clock. I shall not hurry along the road, and
|
||
|
shall be there then before nine."
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER LIII
|
||
|
|
||
|
|
||
|
|
||
|
CONCURRITUR -- HORAE MOMENTO
|
||
|
|
||
|
|
||
|
OUTSIDE the front of Boldwood's house a group of
|
||
|
men stood in the dark, with their faces towards the door,
|
||
|
which occasionally opened and closed for the passage of
|
||
|
some guest or servant, when a golden rod of light would
|
||
|
stripe the ground for the moment and vanish again,
|
||
|
leaving nothing outside but the glowworm shine of the
|
||
|
pale lamp amid the evergreens over the door.
|
||
|
"He was seen in Casterbridge this afternoon -- so the
|
||
|
boy said." one of them remarked in a whisper. "And l
|
||
|
for one believe it. His body was never found, you know."
|
||
|
"'Tis a strange story." said the next. "You may
|
||
|
depend upon't that she knows nothing about it."
|
||
|
"Not a word."
|
||
|
"Perhaps he don't mean that she shall." said another
|
||
|
man.
|
||
|
"If he's alive and here in the neighbourhood, he
|
||
|
means mischief." said the first. "Poor young thing:
|
||
|
I do pity her, if 'tis true. He'll drag her to the dogs."
|
||
|
"O no; he'll settle down quiet enough." said one
|
||
|
disposed to take a more hopeful view of the case.
|
||
|
"What a fool she must have been ever to have had
|
||
|
anything to do with the man! She is so self-willed and
|
||
|
independent too, that one is more minded to say it
|
||
|
serves her right than pity her."
|
||
|
"No, no. I don't hold with 'ee there. She was no
|
||
|
otherwise than a girl mind, and how could she tell what
|
||
|
the man was made of? If 'tis really true, 'tis too hard
|
||
|
a punishment, and more than she ought to hae. -- Hullo,
|
||
|
who's that?" This was to some footsteps that were
|
||
|
heard approaching.
|
||
|
"William Smallbury." said a dim figure in the shades,
|
||
|
coming up and joining them. "Dark as a hedge, to-
|
||
|
night, isn't it? I all but missed the plank over the river
|
||
|
ath'art there in the bottom -- never did such a thing
|
||
|
before in my life. Be ye any of Boldwood's workfolk?"
|
||
|
He peered into their faces.
|
||
|
"Yes -- all o' us. We met here a few minutes ago."
|
||
|
"Oh, I hear now -- that's Sam Samway: thought I
|
||
|
knowed the voice, too. Going in?"
|
||
|
"Presently. But I say, William." Samway whispered,
|
||
|
"have ye heard this strange tale?"
|
||
|
"What -- that about Sergeant Troy being seen, d'ye
|
||
|
mean, souls?" said Smallbury, also lowering his voice.
|
||
|
"Ay: in Casterbridge."
|
||
|
"Yes, I have. Laban Tall named a hint of it to me
|
||
|
but now -- but I don't think it. Hark, here Laban
|
||
|
comes himself, 'a b'lieve." A footstep drew near.
|
||
|
"Laban?"
|
||
|
"Yes, 'tis I." said Tall.
|
||
|
"Have ye heard any more about that?"
|
||
|
"No." said Tall, joining the group. "And I'm in-
|
||
|
clined to think we'd better keep quiet. If so be 'tis not
|
||
|
true, 'twill flurry her, and do her much harm to repeat
|
||
|
it; and if so be 'tis true, 'twill do no good to forestall
|
||
|
her time o' trouble. God send that it mid be a lie, for
|
||
|
though Henery Fray and some of 'em do speak against
|
||
|
her, she's never been anything but fair to me. She's
|
||
|
hot and hasty, but she's a brave girl who'll never tell a
|
||
|
lie however much the truth may harm her, and I've no
|
||
|
cause to wish her evil."
|
||
|
"She never do tell women's little lies, that's true; and
|
||
|
'tis a thing that can be said of very few. Ay, all the
|
||
|
harm she thinks she says to yer face: there's nothing
|
||
|
underhand wi' her."
|
||
|
They stood silent then, every man busied with his
|
||
|
own thoughts, during which interval sounds of merri-
|
||
|
ment could be heard within. Then the front door again
|
||
|
opened, the rays streamed out, the wellknown form of
|
||
|
Boldwood was seen in the rectangular area of light, the
|
||
|
door closed, and Boldwood walked slowly down the path.
|
||
|
"'Tis master." one of the men whispered, as he neared
|
||
|
them. "We'd better stand quiet -- he'll go in again
|
||
|
directly. He would think it unseemly o' us to be
|
||
|
loitering here.
|
||
|
Boldwood came on, and passed by the men without
|
||
|
seeing them, they being under the bushes on the grass.
|
||
|
He paused, leant over the gate, and breathed a long
|
||
|
breath. They heard low words come from him.
|
||
|
"I hope to God she'll come, or this night will be
|
||
|
nothing but misery to me! O my darling, my darling,
|
||
|
why do you keep me in suspense like this?"
|
||
|
He said this to himself, and they all distinctly heard
|
||
|
it. Boldwood remained silent after that, and the noise
|
||
|
from indoors was again just audible, until, a few minutes
|
||
|
later, light wheels could be distinguished coming down
|
||
|
the hill. They drew nearer, and ceased at the gate.
|
||
|
Boldwood hastened back to the door, and opened it;
|
||
|
and the light shone upon Bathsheba coming up the
|
||
|
path.
|
||
|
Boldwood compressed his emotion to mere welcome:
|
||
|
the men marked her light laugh and apology as she met
|
||
|
him: he took her into the house; and the door closed
|
||
|
again.
|
||
|
"Gracious heaven, I didn't know it was like that with
|
||
|
him!" said one of the men. "I thought that fancy of
|
||
|
his was over long ago.
|
||
|
"You don't know much of master, if you thought
|
||
|
that." said Samway.
|
||
|
"I wouldn't he should know we heard what 'a said
|
||
|
for the world." remarked a third.
|
||
|
"I wish we had told of the report at once." the first
|
||
|
uneasily continued. "More harm may come of this than
|
||
|
we know of. Poor Mr. Boldwood, it will, be hard upon
|
||
|
en. I wish Troy was in -- -- Well, God forgive me
|
||
|
for such a wish! A scoundrel to play a poor wife such
|
||
|
tricks. Nothing has prospered in Weatherbury since he
|
||
|
came here. And now I've no heart to go in. Let's
|
||
|
look into Warren's for a few minutes first, shall us,
|
||
|
neighbours?"
|
||
|
Samway, Tall, and Smallbury agreed to go to Warren's,
|
||
|
and went out at the gate, the remaining ones entering
|
||
|
the house. The three soon drew near the malt-house,
|
||
|
approaching it from the adjoining orchard, and not by
|
||
|
way of the street. The pane of glass was illuminated
|
||
|
as usual. Smallbury was a little in advance of the rest
|
||
|
when, pausing, he turned suddenly to his companions
|
||
|
and said, "Hist! See there."
|
||
|
The light from the pane was now perceived to be
|
||
|
shining not upon the ivied wall as usual, but upon some
|
||
|
object close to the glass. It was a human face.
|
||
|
"Let's come closer." whispered Samway; and they
|
||
|
approached on tiptoe. There was no disbelieving the
|
||
|
report any longer. Troy's face was almost close to the
|
||
|
pane, and he was looking in. Not only was he looking in,
|
||
|
but he appeared to have been arrested by a conversation
|
||
|
which was in progress in the malt-house, the voices of
|
||
|
the interlocutors being those of Oak and the maltster.
|
||
|
"The spree is all in her honour, isn't it -- hey?" said
|
||
|
the old man. "Although he made believe 'tis only
|
||
|
keeping up o' Christmas?"
|
||
|
"I cannot say." replied Oak.
|
||
|
"O 'tis true enough, faith. I cannot understand
|
||
|
Farmer Boldwood being such a fool at his time of life
|
||
|
as to ho and hanker after thik woman in the way 'a do,
|
||
|
and she not care a bit about en."
|
||
|
The men, after recognizing Troy's features, withdrew
|
||
|
across the orchard as quietly as they had come. The
|
||
|
air was big with Bathsheba's fortunes to-night: every
|
||
|
word everywhere concerned her. When they were quite
|
||
|
out of earshot all by one instinct paused.
|
||
|
"It gave me quite a turn -- his face." said Tall,
|
||
|
breathing.
|
||
|
"And so it did me." said Samway. "What's to be
|
||
|
done?"
|
||
|
"I don't see that 'tis any business of ours." Smallbury
|
||
|
murmured dubiously.
|
||
|
"But it is! 'Tis a thing which is everybody's business,
|
||
|
said Samway. "We know very well that master's on a
|
||
|
wrong tack, and that she's quite in the dark, and we
|
||
|
should let 'em know at once. Laban, you know her
|
||
|
best -- you'd better go and ask to speak to her."
|
||
|
"I bain't fit for any such thing." said Laban, nervously.
|
||
|
"I should think William ought to do it if anybody. He's
|
||
|
oldest."
|
||
|
"I shall have nothing to do with it." said Smallbury.
|
||
|
"'Tis a ticklish business altogether. Why, he'll go on
|
||
|
to her himself in a few minutes, ye'll see."
|
||
|
"We don't know that he will. Come, Laban."
|
||
|
"Very well, if I must I must, I suppose." Tall reluct-
|
||
|
antly answered. "What must I say?"
|
||
|
"Just ask to see master."
|
||
|
"O no; I shan't speak to Mr. Boldwood. If I tell
|
||
|
anybody, 'twill be mistress."
|
||
|
"Very well." said Samway.
|
||
|
Laban then went to the door. When he opened it
|
||
|
the hum of bustle rolled out as a wave upon a still
|
||
|
strand -- the assemblage being immediately inside the
|
||
|
hall-and was deadened to a murmur as he closed it
|
||
|
again. Each man waited intently, and looked around at
|
||
|
the dark tree tops gently rocking against the sky and
|
||
|
occasionally shivering in a slight wind, as if he took
|
||
|
interest in the scene, which neither did. One of them
|
||
|
began walking up and down, and then came to where
|
||
|
he started from and stopped again, with a sense that
|
||
|
walking was thing not worth doing now.
|
||
|
"I should think Laban must have seen mistress by
|
||
|
this time." said Smallbury, breaking the silence. "Per-
|
||
|
haps she won't come and speak to him."
|
||
|
The door opened. Tall appeared, and joined them
|
||
|
"Well?" said both.
|
||
|
"I didn't like to ask for her after all." Laban faltered
|
||
|
out. "They were all in such a stir, trying to put a little
|
||
|
spirit into the party. Somehow the fun seems to hang
|
||
|
fire, though everything's there that a heart can desire,
|
||
|
and I couldn't for my soul interfere and throw damp
|
||
|
upon it -- if 'twas to save my life, I couldn't!"
|
||
|
"I suppose we had better all go in together." said
|
||
|
Samway, gloomily. "Perhaps I may have a chance of
|
||
|
saying a word to master."
|
||
|
So the men entered the hall, which was the room
|
||
|
selected and arranged for the gathering because of its
|
||
|
size. The younger men and maids were at last just
|
||
|
beginning to dance. Bathsheba had been perplexed
|
||
|
how to act, for she was not much more than a slim
|
||
|
young maid herself, and the weight of stateliness sat
|
||
|
heavy upon her. Sometimes she thought she ought
|
||
|
not to have come under any circumstances; then she
|
||
|
considered what cold unkindness that would have been,
|
||
|
and finally resolved upon the middle course of staying
|
||
|
for about an hour only, and gliding off unobserved,
|
||
|
having from the first made up her mind that she could
|
||
|
on no account dance, sing, or take any active part in
|
||
|
the proceedings.
|
||
|
Her allotted hour having been passed in chatting
|
||
|
and looking on, Bathsheba told Liddy not to hurry her-
|
||
|
self, and went to the small parlour to prepare for
|
||
|
departure, which, like the hall, was decorated with holly
|
||
|
and ivy, and well lighted up.
|
||
|
Nobody was in the room, but she had hardly
|
||
|
been there a moment when the master of the house
|
||
|
entered.
|
||
|
"Mrs. Troy -- you are not going?" he said. "We've
|
||
|
hardly begun!"
|
||
|
"If you'll excuse me, I should like to go now." Her
|
||
|
manner was restive, for she remembered her promise,
|
||
|
and imagined what he was about to say. "But as it is
|
||
|
not late." she added, "I can walk home, and leave my
|
||
|
man and Liddy to come when they choose."
|
||
|
"I've been trying to get an opportunity of speaking
|
||
|
to you." said Boldwood. "You know perhaps what I
|
||
|
long to say?"
|
||
|
Bathsheba silently looked on the floor.
|
||
|
"You do give it?" he said, eagerly.
|
||
|
"What?" she whispered.
|
||
|
"Now, that's evasion! Why, the promise. I don't
|
||
|
want to intrude upon you at all, or to let it become
|
||
|
known to anybody. But do give your word! A
|
||
|
mere business compact, you know, between two people
|
||
|
who are beyond the influence of passion." Boldwood
|
||
|
knew how false this picture was as regarded himself;
|
||
|
but he had proved that it was the only tone in which
|
||
|
she would allow him to approach her. "A promise to
|
||
|
marry me at the end of five years and three-quarters.
|
||
|
You owe it to me!"
|
||
|
"I feel that I do." said Bathsheba; "that is, if you
|
||
|
demand it. But I am a changed woman -- an unhappy
|
||
|
woman -- and not -- not -- -- "
|
||
|
"You are still a very beautiful woman, said Boldwood.
|
||
|
Honesty and pure conviction suggested the remark,
|
||
|
unaccompanied by any perception that it might have
|
||
|
been adopted by blunt flattery to soothe and win her.
|
||
|
However, it had not much effect now, for for she said,
|
||
|
in a passionless murmur which was in itself a proof of
|
||
|
her words: "I have no feeling in the matter at all.
|
||
|
And I don't at all know what is right to do in my
|
||
|
diddicult position, and I have nobody to advise me. But
|
||
|
I give my promise, if I must. I give it as the rendering of
|
||
|
a debt, conditionally, of course, on my being a widow."
|
||
|
"You'll marry me between five and six years hence?"
|
||
|
"Don't press me too hard. I'll marry nobody
|
||
|
else."
|
||
|
"But surely you will name the time, or there's nothing
|
||
|
in the promise at all?"
|
||
|
O, I don't know, pray let me go!" she said, her
|
||
|
bosom beginning to rise. "I am afraid what to do!
|
||
|
want to be just to you, and to be that seems to be wrong-
|
||
|
ing myself, and perhaps it is breaking the commandments.
|
||
|
There is considerable doubt of his death, and then it
|
||
|
is dreadful; let me ask a solicitor, Mr. Boldwood, if I
|
||
|
ought or no!"
|
||
|
"Say the words, dear one, and the subject shall be
|
||
|
dismissed; a blissful loving intimacy of six years, and
|
||
|
then marriage -- O Bathsheba, say them!" he begged in
|
||
|
a husky voice, unable to sustain the forms of mere
|
||
|
friendship any longer. "Promise yourself to me; I
|
||
|
deserve it, indeed I do, for I have loved you more than
|
||
|
anybody in the world! And if I said hasty words and
|
||
|
showed uncalled-for heat of manner towards you, believe
|
||
|
me, dear, I did not mean to distress you; I was in
|
||
|
agony, Bathsheba, and I did not know what I said.
|
||
|
You wouldn't let a dog suffer what I have suffered,
|
||
|
could you but know it! Sometimes I shrink from your
|
||
|
knowing what I have felt for you, and sometimes I am
|
||
|
distressed that all of it you never will know. Be
|
||
|
gracious, and give up a little to me, when I would give
|
||
|
up my life for you!"
|
||
|
The trimmings of her dress, as they quivered against
|
||
|
the light, showed how agitated she was, and at last she
|
||
|
burst out crying. 'And you'll not -- press me -- about
|
||
|
anything more -- if I say in five or six years?" she
|
||
|
sobbed, when she had power to frame the words.
|
||
|
"Yes, then I'll leave it to time."
|
||
|
"Very well. If he does not return, I'll marry you
|
||
|
in six years from this day, if we both live." she said
|
||
|
solemnly.
|
||
|
"And you'll take this as a token from me."
|
||
|
Boldwood had come close to her side, and now he
|
||
|
clasped one of her hands in both his own, and lifted it
|
||
|
to his breast.
|
||
|
"What is it? Oh I cannot wear a ring!" she ex-
|
||
|
claimed, on seeing what he held; "besides, I wouldn't
|
||
|
have a soul know that it's an engagement! Perhaps it
|
||
|
is improper? Besides, we are not engaged in the usual
|
||
|
sense, are we? Don't insist, Mr. Boldwood -- don't!"
|
||
|
In her trouble at not being able to get her hand away
|
||
|
from him at once, she stamped passionately on the floor
|
||
|
with one foot, and tears crowded to her eyes again.
|
||
|
"It means simply a pledge -- no sentiment -- the seal
|
||
|
of a practical compact." he said more quietly, but still
|
||
|
retaining her hand in his firm grasp. "Come, now!"
|
||
|
And Boldwood slipped the ring on her finger.
|
||
|
"I cannot wear it." she said, weeping as if her heart
|
||
|
would break. "You frighten me, almost. So wild a
|
||
|
scheme! Please let me go home!"
|
||
|
"Only to-night: wear it just to-night, to please me!"
|
||
|
Bathsheba sat down in a chair, and buried her face
|
||
|
in her handkerchief, though Boldwood kept her hand
|
||
|
yet. At length she said, in a sort of hopeless whisper --
|
||
|
"Very well, then, I will to-night, if you wish it so
|
||
|
earnestly. Now loosen my hand; I will, indeed I will
|
||
|
wear it to-night."
|
||
|
"And it shall be the beginning of a pleasant secret
|
||
|
courtship of six years, with a wedding at the end?"
|
||
|
"It must be, I suppose, since you will have it so!"
|
||
|
she said, fairly beaten into non-resistance.
|
||
|
Boldwood pressed her hand, and allowed it to drop
|
||
|
in her lap. "I am happy now." he said. "God bless
|
||
|
you!"
|
||
|
He left the room, and when he thought she might
|
||
|
be sufficiently composed sent one of the maids to her
|
||
|
Bathsheba cloaked the effects of the late scene as she
|
||
|
best could, followed the girl, and in a few moments
|
||
|
came downstairs with her hat and cloak on, ready to go.
|
||
|
To get to the door it was necessary to pass through the
|
||
|
hall, and before doing so she paused on the bottom of
|
||
|
the staircase which descended into one corner, to take
|
||
|
a last look at the gathering.
|
||
|
There was no music or dancing in progress just now.
|
||
|
At the lower end, which had been arranged for the work-
|
||
|
folk specially, a group conversed in whispers, and with
|
||
|
clouded looks. Boldwood was standing by the fireplace,
|
||
|
and he, too, though so absorbed in visions arising from
|
||
|
her promise that he scarcely saw anything, seemed at
|
||
|
that moment to have observed their peculiar manner,
|
||
|
and their looks askance.
|
||
|
"What is it you are in doubt about, men?" he said.
|
||
|
One of them turned and replied uneasily: "It was
|
||
|
something Laban heard of, that's all, sir."
|
||
|
"News? Anybody married or engaged, born or
|
||
|
dead?" inquired the farmer, gaily. "Tell it to us, Tall.
|
||
|
One would think from your looks and mysterious ways
|
||
|
that it was something very dreadful indeed."
|
||
|
"O no, sir, nobody is dead." said Tall.
|
||
|
"I wish somebody was." said Samway, in a whisper.
|
||
|
"What do you say, Samway?" asked Boldwood, some-
|
||
|
what sharply. "If you have anything to say, speak out;
|
||
|
if not, get up another dance."
|
||
|
"Mrs. Troy has come downstairs." said Samway to
|
||
|
Tall. "If you want to tell her, you had better do it now."
|
||
|
"Do you know what they mean?" the farmer asked
|
||
|
Bathsheba, across the room.
|
||
|
"I don't in the least," said Bathsheba.
|
||
|
There was a smart rapping at the door. One of
|
||
|
the men opened it instantly, and went outside.
|
||
|
"Mrs. Troy is wanted." he said, on returning.
|
||
|
"Quite ready." said Bathsheba. "Though I didn't
|
||
|
tell them to send."
|
||
|
"It is a stranger, ma'am." said the man by the door.
|
||
|
"A stranger?" she said.
|
||
|
"Ask him to come in." said Boldwood.
|
||
|
The message was given, and Troy, wrapped up to
|
||
|
his eyes as we have seen him, stood in the doorway.
|
||
|
There was an unearthly silence, all looking towards
|
||
|
the newcomer. Those who had just learnt that he
|
||
|
was in the neighbourhood recognized him instantly;
|
||
|
those who did not were perplexed. Nobody noted
|
||
|
Bathsheba. She was leaning on the stairs. Her brow
|
||
|
had heavily contracted; her whole face was pallid, her
|
||
|
lips apart, her eyes rigidly staring at their visitor.
|
||
|
Boldwood was among those who did not notice that
|
||
|
he was Troy. "Come in, come in!" he repeated,
|
||
|
cheerfully, "and drain a Christmas beaker with us,
|
||
|
stranger!"
|
||
|
Troy next advanced into the middle of the room,
|
||
|
took off his cap, turned down his coat-collar, and looked
|
||
|
Boldwood in the face. Even then Boldwood did not
|
||
|
recognize that the impersonator of Heaven's persistent
|
||
|
irony towards him, who had once before broken in
|
||
|
upon his bliss, scourged him, and snatched his delight
|
||
|
away, had come to do these things a second time.
|
||
|
Troy began to laugh a mechanical laugh: Boldwood
|
||
|
recognized him now.
|
||
|
Troy turned to Bathsheba. The poor girl's wretched-
|
||
|
ness at this time was beyond all fancy or narration.
|
||
|
She had sunk down on the lowest stair; and there
|
||
|
she sat, her mouth blue and dry, and her dark eyes
|
||
|
fixed vacantly upon him, as if she wondered whether it
|
||
|
were not all a terrible illusion.
|
||
|
Then Troy spoke. "Bathsheba, I come here for
|
||
|
you!"
|
||
|
She made no reply.
|
||
|
"Come home with me: come!
|
||
|
Bathsheba moved her feet a little, but did not rise.
|
||
|
Troy went across to her.
|
||
|
"Come, madam, do you hear what I say?" he said,
|
||
|
peremptorily.
|
||
|
A strange voice came from the fireplace -- a voice
|
||
|
sounding far off and confined, as if from a dungeon.
|
||
|
Hardly a soul in the assembly recognized the thin tones
|
||
|
to be those of Boldwood. Sudden dispaire had trans-
|
||
|
formed him.
|
||
|
"Bathsheba, go with your husband!"
|
||
|
Nevertheless, she did not move. The truth was
|
||
|
that Bathsheba was beyond the pale of activity -- and
|
||
|
yet not in a swoon. She was in a state of mental GUTTA
|
||
|
SERENA; her mind was for the minute totally deprived of
|
||
|
light at the same time no obscuration was apparent
|
||
|
from without.
|
||
|
Troy stretched out his hand to pull her her towards him,
|
||
|
when she quickly shrank back. This visible dread of
|
||
|
him seemed to irritate Troy, and he seized her arm and
|
||
|
pulled it sharply. Whether his grasp pinched her, or
|
||
|
whether his mere touch was the 'cause, was never known,
|
||
|
but at the moment of his seizure she writhed, and gave
|
||
|
a quick, low scream.
|
||
|
The scream had been heard but a few seconds When
|
||
|
it was followed by sudden deafening report that
|
||
|
echoed through the room and stupefied them all. The
|
||
|
oak partition shook with the concussion, and the place
|
||
|
was filled with grey smoke.
|
||
|
In bewilderment they turned their eyes to Boldwood.
|
||
|
at his back, as stood before the fireplace, was a gun-
|
||
|
rack, as is usual in farmhouses, constructed to hold two
|
||
|
guns. When Bathsheba had cried out in her husband's
|
||
|
grasp, Boldwood's face of gnashing despair had changed.
|
||
|
The veins had swollen, and a frenzied look had gleamed
|
||
|
in his eye. He had turned quickly, taken one of the
|
||
|
guns, cocked it, and at once discharged it at Troy.
|
||
|
Troy fell. The distance apart of the two men was
|
||
|
so small that the charge of shot did not spread in the
|
||
|
least, but passed like a bullet into his body. He uttered
|
||
|
a long guttural sigh -- there was a contraction -- an exten-
|
||
|
sion -- then his muscles relaxed, and he lay still.
|
||
|
Boldwood was seen through the smoke to be now
|
||
|
again engaged with the gun. It was double-barrelled,
|
||
|
and he had, meanwhile, in some way fastened his hand-
|
||
|
kerchief to the trigger, and with his foot on the other
|
||
|
end was in the act of turning the second barrel upon
|
||
|
himself. Samway his man was the first to see this, and
|
||
|
in the midst of the general horror darted up to him.
|
||
|
Boldwood had already twitched the handkerchief, and
|
||
|
the gun exploded a second time, sending its contents,
|
||
|
by a timely blow from Samway, into the beam which
|
||
|
crossed the ceiling.
|
||
|
"Well, it makes no difference!" Boldwood gasped.
|
||
|
"There is another way for me to die."
|
||
|
Then he broke from Samway, crossed the room to
|
||
|
Bathsheba, and kissed her hand. He put on his hat,
|
||
|
opened the door, and went into the darkness, nobody
|
||
|
thinking of preventing him.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER LIV
|
||
|
|
||
|
|
||
|
|
||
|
AFTER THE SHOCK
|
||
|
|
||
|
|
||
|
BOLDWOOD passed into the high road and turned
|
||
|
in the direction of Casterbridge. Here he walked at
|
||
|
an even, steady pace over Yalbury Hill, along the dead
|
||
|
level beyond, mounted Mellstock Hill, and between
|
||
|
eleven and twelve o'clock crossed the Moor into the town.
|
||
|
The streets were nearly deserted now, and the waving
|
||
|
lamp-flames only lighted up rows of grey shop-shutters,
|
||
|
and strips of white paving upon which his step echoed
|
||
|
as his passed along. He turned to the right, and halted
|
||
|
before an archway of heavy stonework, which was closed
|
||
|
by an iron studded pair of doors. This was the entrance
|
||
|
to the gaol, and over it a lamp was fixed, the light en-
|
||
|
abling the wretched traveller to find a bellpull.
|
||
|
The small wicket at last opened, and a porter
|
||
|
appeared. Boldwood stepped forward, and said some-
|
||
|
thing in a low tone, when, after a delay, another man
|
||
|
came. Boldwood entered, and the door was closed
|
||
|
behind him, and he walked the world no more.
|
||
|
Long before this time Weatherbury had been
|
||
|
thoroughly aroused, and the wild deed which had ter-
|
||
|
minated Boldwood's merrymaking became known to
|
||
|
all. Of those out of the house Oak was one of the
|
||
|
first to hear of the catastrophe, and when he entered
|
||
|
the room, which was about five minutes after Boldwood's
|
||
|
exit, the scene was terrible. All the female guests were
|
||
|
huddled aghast against the walls like sheep in a storm,
|
||
|
and the men were bewildered as to what to do. As for
|
||
|
Bathsheba, she had changed. She was sitting on the
|
||
|
floor beside the body of Troy, his head pillowed in her
|
||
|
lap, where she had herself lifted it. With one hand she
|
||
|
held her handkerchief to his breast and covered the
|
||
|
wound, though scarcely a single drop of blood had
|
||
|
flowed, and with the other she tightly clasped one of
|
||
|
his. The household convulsion had made her herself
|
||
|
again. The temporary coma had ceased, and activity
|
||
|
had come with the necessity for it. Deeds of endur-
|
||
|
ance, which seem ordinary in philosophy, are rare in
|
||
|
conduct, and Bathsheba was astonishing all around her
|
||
|
now, for her philosophy was her conduct, and she
|
||
|
seldom thought practicable what she did not practise.
|
||
|
She was of the stuff of which great men's mothers
|
||
|
are made. She was indispensable to high generation,
|
||
|
hated at tea parties, feared in shops, and loved at crises.
|
||
|
Troy recumbent in his wife's lap formed now the sole
|
||
|
spectacle in the middle of the spacious room.
|
||
|
"Gabriel." she said, automatically, when he entered,
|
||
|
turning up a face of which only the wellknown lines
|
||
|
remained to tell him it was hers, all else in the picture
|
||
|
having faded quite. "Ride to Casterbridge instantly
|
||
|
for a surgeon. It is, I believe, useless, but go. Mr.
|
||
|
Boldwood has shot my husband."
|
||
|
Her statement of the fact in such quiet and simple
|
||
|
words came with more force than a tragic declamation,
|
||
|
and had somewhat the effect of setting the distorted
|
||
|
images in each mind present into proper focus. Oak,
|
||
|
almost before he had comprehended anything beyond
|
||
|
the briefest abstract of the event, hurried out of the
|
||
|
room, saddled a horse and rode away. Not till he had
|
||
|
ridden more than a mile did it occur to him that he
|
||
|
would have done better by sending some other man
|
||
|
on this errand, remaining himself in the house. What
|
||
|
had become of Boldwood? He should have been
|
||
|
looked after. Was he mad -- had there been a quarrel?
|
||
|
Then how had Troy got there? Where had he come
|
||
|
from? How did this remarkable reappearance effect
|
||
|
itself when he was supposed by many to be at the
|
||
|
bottom of the sea? Oak had in some slight measure
|
||
|
been prepared for the presence of Troy by hearing a
|
||
|
rumour of his return just before entering Boldwood's
|
||
|
house; but before he had weighed that information, this
|
||
|
fatal event had been superimposed. However, it was too
|
||
|
late now to think of sending another messenger, and
|
||
|
he rode on, in the excitement of these self-inquiries
|
||
|
not discerning, when about three miles from Caster-
|
||
|
bridge, a square-figured pedestrian passing along
|
||
|
under the dark hedge in the same direction as his
|
||
|
own.
|
||
|
The miles necessary to be traversed, and other
|
||
|
hindrances incidental to the lateness of the hour and
|
||
|
the darkness of the night, delayed the arrival of Mr,
|
||
|
Aldritch, the surgeon; and more than three hours
|
||
|
passed between the time at which the shot was fired
|
||
|
and that of his entering the house. Oak was addition-
|
||
|
ally detained in Casterbridge through having to give
|
||
|
notice to the authorities of what had happened; and
|
||
|
he then found that Boldwood had also entered the
|
||
|
town, and delivered himself up.
|
||
|
In the meantime the surgeon, having hastened into
|
||
|
the hall at Boldwood's, found it in darkness and quite
|
||
|
deserted. He went on to the back of the house,
|
||
|
where he discovered in the kitchen an old man, of
|
||
|
whom he made inquiries.
|
||
|
"She's had him took away to her own house, sir,"
|
||
|
said his informant.
|
||
|
"Who has?" said the doctor.
|
||
|
"Mrs. Troy. 'A was quite dead, sir."
|
||
|
This was astonishing information. "She had no
|
||
|
right to do that." said the doctor. "There will have
|
||
|
to be an inquest, and she should have waited to know
|
||
|
what to do."
|
||
|
"Yes, sir; it was hinted to her that she had better
|
||
|
wait till the law was known. But she said law was
|
||
|
nothing to her, and she wouldn't let her dear husband's
|
||
|
corpse bide neglected for folks to stare at for all the
|
||
|
crowners in England."
|
||
|
Mr. Aldritch drove at once back again up the
|
||
|
hill to Bathsheba's. The first person he met was
|
||
|
poor Liddy, who seemed literally to have dwindled
|
||
|
smaller in these few latter hours. "What has been
|
||
|
done?" he said.
|
||
|
"I don't know, sir." said Liddy, with suspended
|
||
|
breath. "My mistress has done it all."
|
||
|
"Where is she?"
|
||
|
"Upstairs with him, sir. When he was brought
|
||
|
home and taken upstairs, she said she wanted no
|
||
|
further help from the men. And then she called me,
|
||
|
and made me fill the bath, and after that told me I
|
||
|
had better go and lie down because I looked so ill.
|
||
|
Then she locked herself into the room alone with him,
|
||
|
and would not let a nurse come in, or anybody at all.
|
||
|
But I thought I'd wait in the next room in case she
|
||
|
should want me. I heard her moving about inside
|
||
|
for more than an hour, but she only came out once,
|
||
|
and that was for more candles, because hers had burnt
|
||
|
down into the socket. She said we were to let her
|
||
|
know when you or Mr. Thirdly came, sir."
|
||
|
Oak entered with the parson at this moment, and
|
||
|
they all went upstairs together, preceded by Liddy
|
||
|
Smallbury. Everything was silent as the grave when
|
||
|
they paused on the landing. Liddy knocked, and
|
||
|
Bathsheba's dress was heard rustling across the room:
|
||
|
the key turned in the lock, and she opened the door.
|
||
|
Her looks were calm and nearly rigid, like a slightly
|
||
|
animated bust of Melpomene.
|
||
|
"Oh, Mr. Aldritch, you have come at last." she
|
||
|
murmured from her lips merely, and threw back the
|
||
|
door. "Ah, and Mr. Thirdly. Well, all is done, and
|
||
|
anybody in the world may see him now." She then
|
||
|
passed by him, crossed the landing, and entered
|
||
|
another room.
|
||
|
Looking into the chamber of death she had vacated
|
||
|
they saw by the light of the candles which were on the
|
||
|
drawers a tall straight shape lying at the further end
|
||
|
of the bedroom, wrapped in white. Everything around
|
||
|
was quite orderly. The doctor went in, and after a
|
||
|
few minutes returned to the landing again, where
|
||
|
Oak and the parson still waited.
|
||
|
"It is all done, indeed, as she says." remarked Mr.
|
||
|
Aldritch, in a subdued voice. "The body has been
|
||
|
undressed and properly laid out in grave clothes.
|
||
|
Gracious Heaven -- this mere girl! She must have the
|
||
|
nerve of a stoic!"
|
||
|
"The heart of a wife merely." floated in a whisper
|
||
|
about the ears of the three, and turning they saw
|
||
|
Bathsheba in the midst of them. Then, as if at that
|
||
|
instant to prove that her fortitude had been more of
|
||
|
will than of spontaneity, she silently sank down between
|
||
|
them and was a shapeless heap of drapery on the floor.
|
||
|
The simple consciousness that superhuman strain was
|
||
|
no longer required had at once put a period to her
|
||
|
power to continue it.
|
||
|
They took her away into a further room, and the
|
||
|
medical attendance which had been useless in Troy's
|
||
|
case was invaluable in Bathsheba's, who fell into a
|
||
|
series of fainting-fits that had a serious aspect for a
|
||
|
time. The sufferer was got to bed, and Oak, finding
|
||
|
from the bulletins that nothing really dreadful was to
|
||
|
be apprehended on her score, left the house. Liddy
|
||
|
kept watch in Bathsheba's chamber, where she heard
|
||
|
her mistress, moaning in whispers through the dull
|
||
|
slow hours of that wretched night: "O it is my fault
|
||
|
-- how can I live! O Heaven, how can I live!"
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER LV
|
||
|
|
||
|
|
||
|
|
||
|
THE MARCH FOLLOWING -- "BATHSHEBA BOLDWOOD"
|
||
|
|
||
|
|
||
|
WE pass rapidly on into the month of March, to a
|
||
|
breezy day without sunshine, frost, or dew. On Yai*-
|
||
|
bury Hill, about midway between Weatherbury and
|
||
|
Casterbridge, where the turnpike road passes over
|
||
|
the crest, a numerous concourse of people had
|
||
|
gathered, the eyes of the greater number being fre-
|
||
|
quently stretched afar in a northerly direction. The
|
||
|
groups consisted of a throng of idlers, a party of
|
||
|
javelin-men, and two trumpeters, and in the midst
|
||
|
were carriages, one of which contained the high
|
||
|
sheriff. With the idlers, many of whom had mounted
|
||
|
to the top of a cutting formed for the road, were several
|
||
|
Weatherbury men and boys -- among others Poorgrass,
|
||
|
Coggan, and Cain Ball.
|
||
|
At the end of half-an-hour a faint dust was seen in
|
||
|
the expected quarter, and shortly after a travelling-
|
||
|
carriage, bringing one of the two judges on the Western
|
||
|
Circuit, came up the hill and halted on the top. The
|
||
|
judge changed carriages whilst a flourish was blown
|
||
|
by the big-cheeked trumpeters, and a procession being
|
||
|
formed of the vehicles and javelin-men, they all pro-
|
||
|
ceeded towards the town, excepting the Weatherbury
|
||
|
men, who as soon as they had seen the judge move
|
||
|
off returned home again to their work.
|
||
|
"Joseph, I seed you squeezing close to the carriage,"
|
||
|
said Coggan, as they walked. "Did ye notice my lord
|
||
|
judge's face?"
|
||
|
"I did." said Poorgrass. "I looked hard at en, as
|
||
|
if I would read his very soul; and there was mercy
|
||
|
in his eyes -- or to speak with the exact truth required
|
||
|
of us at this solemn time, in the eye that was towards
|
||
|
me."
|
||
|
"Well, I hope for the best." said Coggan, though
|
||
|
bad that must be. However, I shan't go to the trial,
|
||
|
and I'd advise the rest of ye that bain't wanted to bide
|
||
|
away. 'Twill disturb his mind more than anything to
|
||
|
see us there staring at him as if he were a show."
|
||
|
"The very thing I said this morning." observed Joseph,
|
||
|
"Justice is come to weigh him in the balances," I said
|
||
|
in my reflectious way, "and if he's found wanting, so
|
||
|
be it unto him," and a bystander said "Hear, hear,
|
||
|
A man who can talk like that ought to be heard."
|
||
|
But I don't like dwelling upon it, for my few words
|
||
|
are my few words, and not much; though the speech
|
||
|
of some men is rumoured abroad as though by nature
|
||
|
formed for such."
|
||
|
"So 'tis, Joseph. And now, neighbours, as I said,
|
||
|
every man bide at home."
|
||
|
The resolution was adhered to; and all waited
|
||
|
anxiously for the news next day. Their suspense
|
||
|
was diverted, however, by a discovery which was made
|
||
|
in the afternoon, throwing more light on Boldwood's
|
||
|
conduct and condition than any details which had
|
||
|
preceded it.
|
||
|
That he had been from the time of Greenhill Fair
|
||
|
until the fatal Christmas Eve in excited and unusual
|
||
|
moods was known to those who had been intimate
|
||
|
with him; but nobody imagined that there had shown
|
||
|
in him unequivocal symptoms of the mental derange-
|
||
|
ment which Bathsheba and Oak, alone of all others
|
||
|
and at different times, had momentarily suspected.
|
||
|
In a locked closet was now discovered an extraordinary
|
||
|
collection of articles. There were several sets of ladies"
|
||
|
dresses in the piece, of sundry expensive materials;
|
||
|
silks and satins, poplins and velvets, all of colours
|
||
|
which from Bathsheba's style of dress might have been
|
||
|
judged to be her favourites. There were two muffs,
|
||
|
sable and ermine. Above all there was a case of
|
||
|
jewellery, containing four heavy gold bracelets and
|
||
|
several lockets and rings, all of fine quality and manu-
|
||
|
facture. These things had been bought in Bath and
|
||
|
other towns from time to time, and brought home by
|
||
|
stealth. They were all carefully packed in paper, and
|
||
|
each package was labelled " Bathsheba Boldwood." a
|
||
|
date being subjoined six years in advance in every
|
||
|
instance.
|
||
|
These somewhat pathetic evidences of a mind crazed
|
||
|
with care and love were the subject of discourse in
|
||
|
Warren's malt-house when Oak entered from Caster-
|
||
|
bridge with tidings of the kiln glow shone upon
|
||
|
it, told the tale sufficiently well. Boldwood, as every
|
||
|
one supposed he would do, had pleaded guilty, and
|
||
|
had been sentenced to death.
|
||
|
The conviction that Boldwood had not been morally
|
||
|
responsible for his later acts now became general. Facts
|
||
|
elicited previous to the trial had pointed strongly in the
|
||
|
same direction, but they had not been of sufficient weight
|
||
|
to lead to an order for an examination into the state
|
||
|
of Boldwood's mind. It was astonishing, now that a
|
||
|
presumption of insanity was raised, how many collateral
|
||
|
circumstances were remembered to which a condition
|
||
|
of mental disease seemed to afford the only explanation
|
||
|
-- among others, the unprecedented neglect of his corn
|
||
|
stacks in the previous summer.
|
||
|
A petition was addressed to the Home Secretary,
|
||
|
advancing the circumstances which appeared to justify
|
||
|
a request for a reconsideration of the sentence. It was
|
||
|
not "numerously signed" by the inhabitants of Caster-
|
||
|
bridge, as is usual in such cases, for Boldwood had
|
||
|
never made many friends over the counter. The shops
|
||
|
thought it very natural that a man who, by importing
|
||
|
direct from the producer, had daringly set aside the
|
||
|
first great principle of provincial existence, namely
|
||
|
that God made country villages to supply customers
|
||
|
to county towns, should have confused ideas about
|
||
|
the Decalogue. The prompters were a few merciful
|
||
|
men who had perhaps too feelingly considered the
|
||
|
facts latterly unearthed, and the result was that evidence
|
||
|
was taken which it was hoped might remove the crime
|
||
|
in a moral point of view, out of the category of wilful
|
||
|
murder, and lead it to be regarded as a sheer outcome
|
||
|
of madness.
|
||
|
The upshot of the petition was waited for in Weather-
|
||
|
bury with solicitous interest. The execution had been
|
||
|
fixed for eight o'clock on a Saturday morning about a
|
||
|
fortnight after the sentence was passed, and up to
|
||
|
Friday afternoon no answer had been received. At
|
||
|
that time Gabriel came from Casterbridge Gaol, whither
|
||
|
he had been to wish Boldwood good-bye, and turned
|
||
|
down a by-street to avoid the town. When past the last
|
||
|
house he heard a hammering, and lifting his bowed
|
||
|
head he looked back for a moment. Over the chimneys
|
||
|
he could see the upper part of the gaol entrance, rich
|
||
|
and glowing in the afternoon sun, and some moving
|
||
|
figures were there. They were carpenters lifting a post
|
||
|
into a vertical position within the parapet. He with-
|
||
|
drew his eyes quickly, and hastened on.
|
||
|
It was dark when he reached home, and half the
|
||
|
village was out to meet him.
|
||
|
"No tidings." Gabriel said, wearily. "And I'm afraid
|
||
|
there's no hope. I've been with him more than two
|
||
|
hours."
|
||
|
"Do ye think he REALLY was out of his mind when he
|
||
|
did it?" said Smallbury.
|
||
|
"I can't honestly say that I do." Oak replied. "How-
|
||
|
ever, that we can talk of another time. Has there been
|
||
|
any change in mistress this afternoon?"
|
||
|
"None at all."
|
||
|
"Is she downstairs?"
|
||
|
"No. And getting on so nicely as she was too.
|
||
|
She's but very little better now again than she was at
|
||
|
Christmas. She keeps on asking if you be come, and
|
||
|
if there's news, till one's wearied out wi' answering her.
|
||
|
Shall I go and say you've come?"
|
||
|
"No." said Oak. "There's a chance yet; but I
|
||
|
couldn't stay in town any longer -- after seeing him too,
|
||
|
So Laban -- Laban is here, isn't he?"
|
||
|
"Yes." said Tall.
|
||
|
"What I've arranged is, that you shall ride to town
|
||
|
the last thing to-night; leave here about nine, and wait
|
||
|
a while there, getting home about twelve. If nothing
|
||
|
has been received by eleven to-night, they say there's
|
||
|
no chance at all."
|
||
|
"I do so hope his life will be spared." said Liddy.
|
||
|
"If it is not, she'll go out of her mind too. Poor thing;
|
||
|
her sufferings have been dreadful; she deserves any-
|
||
|
body's pity."
|
||
|
"Is she altered much?" said Coggan.
|
||
|
"If you haven't seen poor mistress since Christmas,
|
||
|
you wouldn't know her." said Liddy. "Her eyes are so
|
||
|
miserable that she's not the same woman. Only two
|
||
|
years ago she was a romping girl, and now she's this!"
|
||
|
Laban departed as directed, and at eleven o'clock
|
||
|
that night several of the villagers strolled along the
|
||
|
road to Casterbridge and awaited his arrival-among
|
||
|
them Oak, and nearly all the rest of Bathsheba's men.
|
||
|
Gabriel's anxiety was great that Boldwood might be
|
||
|
saved, even though in his conscience he felt that he
|
||
|
ought to die; for there had been qualities in the farmer
|
||
|
which Oak loved. At last, when they all were weary
|
||
|
the tramp of a horse was heard in the distance --
|
||
|
First dead, as if on turf it trode,
|
||
|
Then, clattering on the village road
|
||
|
In other pace than forth he yode.
|
||
|
"We shall soon know now, one way or other." said
|
||
|
Coggan, and they all stepped down from the bank on
|
||
|
which they had been standing into the road, and the
|
||
|
rider pranced into the midst of them.
|
||
|
"Is that you, Laban?" said Gabriel.
|
||
|
"Yes -- 'tis come. He's not to die. 'Tis confine-
|
||
|
ment during her Majesty's pleasure."
|
||
|
"Hurrah!" said Coggan, with a swelling heart. "God's
|
||
|
above the devil yet!"
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER LVI
|
||
|
|
||
|
|
||
|
|
||
|
BEAUTY IN LONELINESS -- AFTER ALL
|
||
|
|
||
|
|
||
|
BATHSHEBA revived with the spring. The utter
|
||
|
prostration that had followed the low fever from which
|
||
|
she had suffered diminished perceptibly when all un-
|
||
|
certainty upon every subject had come to an end.
|
||
|
But she remained alone now for the greater part of
|
||
|
her time, and stayed in the house, or at furthest went
|
||
|
into the garden. She shunned every one, even Liddy,
|
||
|
and could be brought to make no confidences, and to
|
||
|
ask for no sympathy.
|
||
|
As the summer drew on she passed more of her time
|
||
|
in the open air, and began to examine into farming
|
||
|
matters from sheer necessity, though she never rode
|
||
|
out or personally superintended as at former times.
|
||
|
One Friday evening in August she walked a little way
|
||
|
along the road and entered the village for the first time
|
||
|
since the sombre event of the preceding Christmas.
|
||
|
None of the old colour had as yet come to her cheek,
|
||
|
and its absolute paleness was heightened by the jet black
|
||
|
of her gown, till it appeared preternatural. When she
|
||
|
reached a little shop at the other end of the place,
|
||
|
which stood nearly opposite to the churchyard, Bath-
|
||
|
sheba heard singing inside the church, and she knew
|
||
|
that the singers were practising. She crossed the road,
|
||
|
opened the gate, and entered the graveyard, the high
|
||
|
sills of the church windows effectually screening her
|
||
|
from the eyes of those gathered within. Her stealthy
|
||
|
walk was to the nook wherein Troy had worked at
|
||
|
planting flowers upon Fanny Robin's grave, and she
|
||
|
came to the marble tombstone.
|
||
|
A motion of satisfaction enlivened her face as she
|
||
|
read the complete inscription. First came the words of
|
||
|
Troy himself: --
|
||
|
ERECTED BY FRANCIS TROY
|
||
|
IN BELOVED MEMORY OF
|
||
|
FANNY ROBIN,
|
||
|
WHO DIED OCTOBER 9, 18 -- ,
|
||
|
AGED 20 YEARS.
|
||
|
Underneath this was now inscribed in new letters: --
|
||
|
IN THE SAME GRAVE LIE
|
||
|
THE REMAINS OF THE AFORESAID
|
||
|
FRANCIS TROY,
|
||
|
WHO DIED DECEMBER 24TH, 18 -- ,
|
||
|
Whilst she stood and read and meditated the tones of
|
||
|
the organ began again in the church, and she went
|
||
|
with the same light step round to the porch and listened.
|
||
|
The door was closed, and the choir was learning a new
|
||
|
hymn. Bathsheba was stirred by emotions which
|
||
|
latterly she had assumed to be altogether dead within
|
||
|
her. The little attenuated voices of the children
|
||
|
brought to her ear in destinct utterance the words they
|
||
|
sang without thought or comprehension --
|
||
|
Lead, kindly Light, amid the encircling gloom,
|
||
|
Lead Thou me on.
|
||
|
Bathsheba's feeling was always to some extent de-
|
||
|
pendent upon her whim, as is the case with many other
|
||
|
women. Something big came into her throat and an
|
||
|
uprising to her eyes -- and she thought that she would
|
||
|
allow the imminent tears to flow if they wished. They
|
||
|
did flow and plenteously, and one fell upon the stone
|
||
|
bench beside her. Once that she had begun to cry for
|
||
|
she hardly knew what, she could not leave off for crowd-
|
||
|
ing thoughts she knew too well. She would have given
|
||
|
anything in the world to be, as those children were, un-
|
||
|
concerned at the meaning of their words, because too
|
||
|
innocent to feel the necessity for any such expression.
|
||
|
All the impassioned scenes of her brief expenence
|
||
|
seemed to revive with added emotion at that moment,
|
||
|
and those scenes which had been without emotion
|
||
|
during enactment had emotion then. Yet grief came
|
||
|
to her rather as a luxury than as the scourge of former
|
||
|
times.
|
||
|
Owing to Bathsheba's face being buried in her hands
|
||
|
she did not notice a form which came quietly into the
|
||
|
porch, and on seeing her, first moved as if to retreat,
|
||
|
then paused and regarded her. Bathsheba did not raise
|
||
|
her head for some time, and when she looked round
|
||
|
her face was wet, and her eyes drowned and dim. "Mr.
|
||
|
Oak." exclaimed she, disconcerted, " how long have you
|
||
|
been here?"
|
||
|
"A few minutes, ma'am." said Oak, respectfully.
|
||
|
"Are you going in?" said Bathsheba; and there came
|
||
|
from within the church as from a prompter --
|
||
|
l loved the garish day, and, spite of fears,
|
||
|
pride ruled my will: remember not past years.
|
||
|
"I was." said Gabriel. "I am one of the bass singers,
|
||
|
you know. I have sung bass for several months.
|
||
|
"Indeed: I wasn't aware of that. I'll leave you, then."
|
||
|
which I have loved long since, and lost awhile,
|
||
|
sang the children.
|
||
|
"Don't let me drive you away, mistress. I think I
|
||
|
won't go in to-night."
|
||
|
"O no -- you don't drive me away.
|
||
|
Then they stood in a state of some embarrassment
|
||
|
Bathsheba trying to wipe her dreadfully drenched and
|
||
|
inflamed face without his noticing her. At length Oak
|
||
|
said, I've not seen you-i mean spoken to you -- since
|
||
|
ever so long, have I?" But he feared to bring distress-
|
||
|
ing memories back, and interrupted himself with: "Were
|
||
|
you going into church?"
|
||
|
"No." she said. I came to see the tombstone
|
||
|
privately -- to see if they had cut the inscription as I
|
||
|
wished Mr. Oak, you needn't mind speaking to me, if
|
||
|
you wish to, on the matter which is in both our minds
|
||
|
at this moment."
|
||
|
"And have they done it as you wished?" said Oak.
|
||
|
"Yes. Come and see it, if you have not already."
|
||
|
So together they went and read the tomb. "Eight
|
||
|
months ago!" Gabriel murmured when he saw the date.
|
||
|
"It seems like yesterday to me."
|
||
|
And to me as if it were years ago-long years, and
|
||
|
I had been dead between. And now I am going home,
|
||
|
Mr. Oak."
|
||
|
Oak walked after her. "I wanted to name a small
|
||
|
matter to you as soon as I could." he said, with hesitation.
|
||
|
"Merrily about business, and I think I may just mention it
|
||
|
now, if you'll allow me."
|
||
|
"O yes, certainly."
|
||
|
It is that I may soon have to give up the manage-
|
||
|
ment of your farm, Mrs. Troy. The fact is, I am think-
|
||
|
ing of leaving England -- not yet, you know -- next
|
||
|
spring. "
|
||
|
"Leaving England!" she said, in surprise and
|
||
|
genuine disappointment." Why, Gabriel, what are you
|
||
|
going to do that for?"
|
||
|
"Well, I've thought it best." Oak stammered out.
|
||
|
"California is the spot I've had in my mind to try."
|
||
|
"But it is understood everywhere that you are going
|
||
|
to take poor Mr. Boldwood's farm on your own account."
|
||
|
"I've had the refusal o' it 'tis true; but nothing is
|
||
|
settled yet, and I have reasons for giving up. I shall
|
||
|
finish out my year there as manager for the trustees,
|
||
|
but no more."
|
||
|
"And what shall I do without you? Oh, Gabriel, I
|
||
|
don't think you ought to go away. You've been with
|
||
|
me so long -- through bright times and dark times -- such
|
||
|
old friends that as we are -- that it seems unkind almost. I
|
||
|
had fancied that if you leased the other farm as master,
|
||
|
you might still give a helping look across at mine. And
|
||
|
now going away!"
|
||
|
"I would have willingly."
|
||
|
"Yet now that I am more helpless than ever you go
|
||
|
away!"
|
||
|
"Yes, that's the ill fortune o' it." said Gabriel, in a
|
||
|
distressed tone. "And it is because of that very help-
|
||
|
lessness that I feel bound to go. Good afternoon,
|
||
|
ma'am" he concluded, in evident anxiety to get
|
||
|
away, and at once went out of the churchyard by a
|
||
|
path she could follow on no pretence whatever.
|
||
|
Bathsheba went home, her mind occupied with a
|
||
|
new trouble, which being rather harassing than deadly
|
||
|
was calculated to do good by diverting her from the
|
||
|
chronic gloom of her life. She was set thinking a great
|
||
|
deal about Oak and of his which to shun her; and there
|
||
|
occurred to Bathsheba several incidents of latter in-
|
||
|
tercourse with him, which, trivial when singly viewed
|
||
|
amounted together to a perceptible disinclination for
|
||
|
her society. It broke upon her at length as a great
|
||
|
pain that her last old disciple was about to forsake her
|
||
|
and flee. He who had believed in her and argued on
|
||
|
her side when all the rest of the world was against her,
|
||
|
had at last like the others become weary and neglectful
|
||
|
of the old cause, and was leaving her to fight her battles
|
||
|
alone.
|
||
|
Three weeks went on, and more evidence of his
|
||
|
want of interest in her was forthcoming. She noticed
|
||
|
that instead of entering the small parlour or office
|
||
|
where the farm accounts were kept, and waiting, or
|
||
|
leaving a memorandum as he had hitherto done during
|
||
|
her seclusion, Oak never came at all when she was likely
|
||
|
to be there, only entering at unseasonable hours when
|
||
|
her presence in that part of the house was least to be
|
||
|
expected. Whenever he wanted directions he sent a
|
||
|
message, or note with neither heading nor signature, to
|
||
|
which she was obliged to reply in the same off-hand
|
||
|
style. Poor Bathsheba began to suffer now from the
|
||
|
most torturing sting of ali-a sensation that she was
|
||
|
despised.
|
||
|
The autumn wore away gloomily enough amid these
|
||
|
melancholy conjectures, and Christmas-day came, com-
|
||
|
pleting a year of her legal widowhood, and two years
|
||
|
and a quarter of her life alone. On examining her
|
||
|
heart it appeared beyond measure strange that the sub-
|
||
|
ject of which the season might have been supposed
|
||
|
suggestive -- the event in the hall at Boldwood's -- was
|
||
|
not agitating her at all; but instead, an agonizing con-
|
||
|
viction that everybody abjured her -- for what she could
|
||
|
not tell -- and that Oak was the ringleader of the
|
||
|
recusants. Coming out of church that day she looked
|
||
|
round in hope that Oak, whose bass voice she had
|
||
|
heard rolling out from the gallery overhead in a most
|
||
|
unconcerned manner, might chance to linger in her path
|
||
|
in the old way. There he was, as usual, coming down
|
||
|
the path behind her. But on seeing Bathsheba turn, he
|
||
|
looked aside, and as soon as he got beyond the gate,
|
||
|
and there was the barest excuse for a divergence, he
|
||
|
made one, and vanished.
|
||
|
The next morning brought the culminating stroke;
|
||
|
she had been expecting it long. It was a formal notice
|
||
|
by letter from him that he should not renew his engage-
|
||
|
ment with her for the following Lady-day.
|
||
|
Bathsheba actually sat and cried over this letter most
|
||
|
bitterly. She was aggrieved and wounded that the
|
||
|
possession of hopeless love from Gabriel, which she had
|
||
|
AFTER ALL
|
||
|
grown to regard as her inalienable right for life, should
|
||
|
have been withdrawn just at his own pleasure in this
|
||
|
way. She was bewildered too by the prospect of having
|
||
|
to rely on her own resources again: it seemed to herself
|
||
|
that she never could again acquire energy sufficient to
|
||
|
go to market, barter, and sell. Since Troy's death Oak
|
||
|
had attended all sales and fairs for her, transacting her
|
||
|
business at the same time with his own. What should
|
||
|
she do now? Her life was becoming a desolation.
|
||
|
So desolate was Bathsheba this evening, that in an
|
||
|
absolute hunger for pity and sympathy, and miserable in
|
||
|
that she appeared to have outlived the only true friend-
|
||
|
ship she had ever owned, she put on her bonnet and
|
||
|
cloak and went down to Oak's house just after sunset,
|
||
|
guided on her way by the pale primrose rays of a
|
||
|
crescent moon a few days old.
|
||
|
A lively firelight shone from the window, but nobody
|
||
|
was visible in the room. She tapped nervously, and
|
||
|
then thought it doubtful if it were right for a single
|
||
|
woman to call upon a bachelor who lived alone, although
|
||
|
he was her manager, and she might be supposed to call
|
||
|
on business without any real impropriety. Gabriel
|
||
|
opened the door, and the moon shone upon his fore-
|
||
|
haad.
|
||
|
"Mr. Oak." said Bathsheba, faintly.
|
||
|
"Yes; I am Mr. Oak." said Gabriel. "Who have I
|
||
|
the honour -- O how stupid of me, not to know you,
|
||
|
mistress!"
|
||
|
"I shall not be your mistress much longer, shall I
|
||
|
Gabriel?" she said, in pathetic tones.
|
||
|
"Well, no. I suppose -- But come in, ma'am. Oh --
|
||
|
and I'll get a light." Oak replied, with some awkwardness.
|
||
|
"No; not on my account."
|
||
|
"It is so seldom that I get a lady visitor that I'm
|
||
|
afraid I haven't proper accommodation. Will you sit
|
||
|
down, please? Here's a chair, and there's one, too.
|
||
|
I am sorry that my chairs all have wood seats, and are
|
||
|
rather hard, but I was thinking of getting some new
|
||
|
ones." Oak placed two or three for her.
|
||
|
"They are quite easy enough for me."
|
||
|
So down she sat, and down sat he, the fire dancing
|
||
|
in their faces, and upon the old furniture
|
||
|
all a-sheenen
|
||
|
Wi' long years o' handlen,
|
||
|
that formed Oak's array of household possessions, which
|
||
|
sent back a dancing reflection in reply. It was very
|
||
|
odd to these two persons, who knew each other passing
|
||
|
well, that the mere circumstance of their meeting in a
|
||
|
new place and in a new way should make them so
|
||
|
awkward and constrained. In the fields, or at her house,
|
||
|
there had never been any embarrassment; but now that
|
||
|
Oak had become the entertainer their lives seemed to be
|
||
|
moved back again to the days when they were strangers.
|
||
|
"You'll think it strange that I have come, but -- "
|
||
|
"O no; not at all."
|
||
|
"But I thought -- Gabriel, I have been uneasy in the
|
||
|
belief that I have offended you, and that you are going
|
||
|
away on that account. It grieved me very much and
|
||
|
I couldn't help coming."
|
||
|
"Offended me! As if you could do that, Bathsheba!"
|
||
|
"Haven't I?" she asked, gladly. "But, what are you
|
||
|
going away for else?"
|
||
|
"I am not going to emigrate, you know; I wasn't
|
||
|
aware that you would wish me not to when I told 'ee or I
|
||
|
shouldn't ha' thought of doing it." he said, simply. "I
|
||
|
have arranged for Little Weatherbury Farm and shall
|
||
|
have it in my own hands at Lady-day. You know I've
|
||
|
had a share in it for some time. Still, that wouldn't
|
||
|
prevent my attending to your business as before, hadn't
|
||
|
it been that things have been said about us."
|
||
|
"What?" said Bathsheba, in surprise. "Things said
|
||
|
about you and me! What are they?"
|
||
|
"I cannot tell you."
|
||
|
"It would be wiser if you were to, I think. You have
|
||
|
played the part of mentor to me many times, and I don't
|
||
|
see why you should fear to do it now."
|
||
|
"It is nothing that you have done, this time. The
|
||
|
top and tail o't is this -- that I am sniffing about here,
|
||
|
and waiting for poor Boldwood's farm, with a thought
|
||
|
of getting you some day."
|
||
|
"Getting me! What does that mean?"
|
||
|
"Marrying o' 'ee, in plain British. You asked me to
|
||
|
tell, so you mustn't blame me."
|
||
|
Bathsheba did not look quite so alarmed as if a
|
||
|
cannon had been discharged by her ear, which was what
|
||
|
Oak had expected. "Marrying me! I didn't know it
|
||
|
was that you meant." she said, quietly. "Such a thing
|
||
|
as that is too absurd -- too soon -- to think of, by far!"
|
||
|
"Yes; of course, it is too absurd. I don't desire any
|
||
|
such thing; I should think that was plain enough by
|
||
|
this time. Surely, surely you be the last person in the
|
||
|
world I think of marrying. It is too absurd, as you say
|
||
|
"Too -- s-s-soon" were the words I used."
|
||
|
"I must beg your pardon for correcting you, but you
|
||
|
said, "too absurd," and so do I."
|
||
|
"I beg your pardon too! she returned, with tears
|
||
|
in her eyes. ""Too soon" was what I said. But it
|
||
|
doesn't matter a bit -- not at ali-but I only meant,
|
||
|
"too soon" Indeed, I didn't, Mr. Oak, and you must
|
||
|
believe me!"
|
||
|
Gabriel looked her long in the face, but the firelight
|
||
|
being faint there was not much to be seen. "Bathsheba,"
|
||
|
he said, tenderly and in surprise, and coming closer:
|
||
|
"if I only knew one thing -- whether you would allow me
|
||
|
to love you and win you, and marry you after ali-if I
|
||
|
only knew that!"
|
||
|
"But you never will know." she murmured.
|
||
|
"Why?"
|
||
|
"Because you never ask.
|
||
|
"Oh -- Oh!" said Gabriel, with a low laugh of joyous-
|
||
|
ness. "My own dear -- "
|
||
|
"You ought not to have sent me that harsh letter
|
||
|
this morning." she interrupted. "It shows you didn't
|
||
|
care a bit about me, and were ready to desert me like
|
||
|
all the rest of them! It was very cruel of you, consider-
|
||
|
ing I was the first sweetheart that you ever had, and
|
||
|
you were the first I ever had; and I shall not forget it!"
|
||
|
"Now, Bathsheba, was ever anybody so provoking
|
||
|
he said, laughing. "You know it was purely that I, as
|
||
|
an unmarried man, carrying on a business for you as a
|
||
|
very taking young woman, had a proper hard part to
|
||
|
play -- more particular that people knew I had a sort
|
||
|
of feeling for'ee; and I fancied, from the way we were
|
||
|
mentioned together, that it might injure your good name.
|
||
|
Nobody knows the heat and fret I have been caused
|
||
|
by it."
|
||
|
"And was that all?"
|
||
|
"All."
|
||
|
"Oh, how glad I am I came!" she exclaimed, thank-
|
||
|
fully, as she rose from her seat. "I have thought so
|
||
|
much more of you since I fancied you did not want
|
||
|
even to see me again. But I must be going now, or I
|
||
|
shall be missed. Why Gabriel." she said, with a slight
|
||
|
laugh, as they went to the door, "it seems exactly as if
|
||
|
I had come courting you -- how dreadful!"
|
||
|
"And quite right too." said Oak. "I've danced at
|
||
|
your skittish heels, my beautiful Bathsheba, for many a
|
||
|
long mile, and many a long day; and it is hard to be-
|
||
|
grudge me this one visit."
|
||
|
He accompanied her up the hill, explaining to her
|
||
|
the details of his forthcoming tenure of the other farm.
|
||
|
They spoke very little of their mutual feeling; pretty
|
||
|
phrases and warm expressions being probably un-
|
||
|
necessary between such tried friends. 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.
|
||
|
This good-fellowship -- CAMARADERIE -- usually occurring
|
||
|
through similarity of pursuits, is unfortunately seldom
|
||
|
superadded to love between the sexes, because men and
|
||
|
women associate, not in their labours, but in their
|
||
|
pleasures merely. Where, however, happy circumstance
|
||
|
permits its development, the compounded feeling proves
|
||
|
itself to be the only love which is strong as death -- that
|
||
|
love which many waters cannot quench, nor the floods
|
||
|
drown, beside which the passion usually called by the
|
||
|
name is evanescent as steam.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CHAPTER LVII
|
||
|
|
||
|
|
||
|
|
||
|
A FOGGY NIGHT AND MORNING -- CONCLUSION
|
||
|
|
||
|
|
||
|
"THE most private, secret, plainest wedding that it is
|
||
|
possible to have."
|
||
|
Those had been Bathsheba's words to Oak one
|
||
|
evening, some time after the event of the preceding
|
||
|
chapter, and he meditated a full hour by the clock upon
|
||
|
how to carry out her wishes to the letter.
|
||
|
"A licence -- O yes, it must be a licence." he said
|
||
|
to himself at last. "Very well, then; first, a license."
|
||
|
On a dark night, a few days later, Oak came with
|
||
|
mysterious steps from the surrogate's door, in Caster-
|
||
|
bridge. On the way home he heard a heavy tread in
|
||
|
front of him, and, overtaking the man, found him to be
|
||
|
Coggan. They walked together into the village until
|
||
|
they came to a little lane behind the church, leading
|
||
|
down to the cottage of Laban Tall, who had lately been
|
||
|
installed as clerk of the parish, and was yet in mortal
|
||
|
terror at church on Sundays when he heard his lone
|
||
|
voice among certain hard words of the Psalms, whither
|
||
|
no man ventured to follow him.
|
||
|
"Well, good-night, Coggan." said Oak, "I'm going
|
||
|
down this way."
|
||
|
"Oh!" said Coggan, surprised; "what's going on to-
|
||
|
night then, make so bold Mr. Oak?"
|
||
|
It seemed rather ungenerous not to tell Coggan,
|
||
|
under the circumstances, for Coggan had been true as
|
||
|
steel all through the time of Gabriel's unhappiness about
|
||
|
Bathsheba, and Gabriel said, " You can keep a secret,
|
||
|
Coggan?"
|
||
|
"You've proved me, and you know."
|
||
|
"Yes, I have, and I do know. Well, then, mistress
|
||
|
and I mean to get married to-morrow morning."
|
||
|
"Heaven's high tower! And yet I've thought of
|
||
|
such a thing from time to time; true, I have. But
|
||
|
keeping it so close! Well, there, 'tis no consarn of
|
||
|
amine, and I wish 'ee joy o' her."
|
||
|
"Thank you, Coggan. But I assure 'ee that this
|
||
|
great hush is not what I wished for at all, or what
|
||
|
either of us would have wished if it hadn't been for
|
||
|
certain things that would make a gay wedding seem
|
||
|
hardly the thing. Bathsheba has a great wish that all
|
||
|
the parish shall not be in church, looking at her -- she's
|
||
|
shylike and nervous about it, in fact -- so I be doing
|
||
|
this to humour her."
|
||
|
"Ay, I see: quite right, too, I suppose I must say.
|
||
|
And you be now going down to the clerk."
|
||
|
"Yes; you may as well come with me."
|
||
|
"I am afeard your labour in keeping it close will be
|
||
|
throwed away." said Coggan, as they walked along.
|
||
|
"Labe Tall's old woman will horn it all over parish in
|
||
|
half-an-hour. "
|
||
|
"So she will, upon my life; I never thought of
|
||
|
that." said Oak, pausing. "Yet I must tell him to-
|
||
|
night, I suppose, for he's working so far off, and leaves
|
||
|
early."
|
||
|
"I'll tell 'ee how we could tackle her." said Coggan.
|
||
|
"I'll knock and ask to speak to Laban outside the door,
|
||
|
you standing in the background. Then he'll come out,
|
||
|
and you can tell yer tale. She'll never guess what I
|
||
|
want en for; and I'll make up a few words about the
|
||
|
farm-work, as a blind."
|
||
|
This scheme was considered feasible; and Coggan
|
||
|
advanced boldly, and rapped at Mrs. Tall's door. Mrs.
|
||
|
Tall herself opened it.
|
||
|
"I wanted to have a word with Laban."
|
||
|
"He's not at home, and won't be this side of eleven
|
||
|
o'clock. He've been forced to go over to Yalbury since
|
||
|
shutting out work. I shall do quite as well."
|
||
|
"I hardly think you will. Stop a moment;" and
|
||
|
Coggan stepped round the corner of the porch to consult
|
||
|
Oak.
|
||
|
"Who's t'other man, then?" said Mrs. Tall.
|
||
|
"Only a friend." said Coggan.
|
||
|
"Say he's wanted to meet mistress near church-hatch
|
||
|
to-morrow morning at ten." said Oak, in a whisper.
|
||
|
"That he must come without fail, and wear his best
|
||
|
clothes."
|
||
|
"The clothes will floor us as safe as houses!" said Coggan.
|
||
|
"It can't be helped said Oak. "Tell her."
|
||
|
So Coggan delivered the message. "Mind, het or
|
||
|
wet, blow or snow, he must come, added Jan. "'Tis
|
||
|
very particular, indeed. The fact is, 'tis to witness her
|
||
|
sign some law-work about taking shares wi' another
|
||
|
farmer for a long span o' years. There, that's what 'tis,
|
||
|
and now I've told 'ee, Mother Tall, in a way I shouldn't
|
||
|
ha' done if I hadn't loved 'ee so hopeless well."
|
||
|
Coggan retired before she could ask any further;
|
||
|
and next they called at the vicar's in a manner which
|
||
|
excited no curiosity at all. Then Gabriel went home,
|
||
|
and prepared for the morrow.
|
||
|
"Liddy." said Bathsheba, on going to bed that night,
|
||
|
"I want you to call me at seven o'clock to-morrow, In
|
||
|
case I shouldn't wake."
|
||
|
"But you always do wake afore then, ma'am."
|
||
|
"Yes, but I have something important to do, which
|
||
|
I'll tell you of when the time comes, and it's best to
|
||
|
make sure."
|
||
|
CONCLUSION
|
||
|
Bathsheba, however, awoke voluntarily at four, nor
|
||
|
could she by any contrivance get to sleep again. About
|
||
|
six, being quite positive that her watch had stopped
|
||
|
during the night, she could wait no longer. She went
|
||
|
and tapped at Liddy's door, and after some labour awoke
|
||
|
her.
|
||
|
"But I thought it was I who had to call you?" said
|
||
|
the bewildered Liddy. "And it isn't six yet."
|
||
|
Indeed it is; how can you tell such a story, Liddy?
|
||
|
I know it must be ever so much past seven. Come to
|
||
|
my room as soon as you can; I want you to give my
|
||
|
hair a good brushing."
|
||
|
When Liddy came to Bathsheba's room her mistress
|
||
|
was already waiting. Liddy could not understand
|
||
|
this extraordinary promptness. "Whatever IS going on,
|
||
|
ma'am?" she said.
|
||
|
"Well, I'll tell you." said Bathsheba, with a mischiev-
|
||
|
ous smile in her bright eyes. "Farmer Oak is coming
|
||
|
here to dine with me to-day!"
|
||
|
"Farmer Oak -- and nobody else? -- you two alone?"
|
||
|
"Yes."
|
||
|
"But is it safe, ma'am, after what's been said?" asked
|
||
|
her companion, dubiously. "A woman's good name is
|
||
|
such a perishable article that -- -- "
|
||
|
Bathsheba laughed with a flushed cheek, and
|
||
|
whispered in Liddy's ear, although there was nobody
|
||
|
present. Then Liddy stared and exclaimed, " Souls
|
||
|
alive, what news! It makes my heart go quite
|
||
|
bumpity-bump"
|
||
|
"It makes mine rather furious, too." said Bathsheba.
|
||
|
"However, there's no getting out of it now!"
|
||
|
It was a damp disagreeable morning. Nevertheless,
|
||
|
at twenty minutes to ten o'clock, Oak came out of his
|
||
|
house, and
|
||
|
Went up the hill side
|
||
|
With that sort of stride
|
||
|
A man puts out when walking in search of a bride,
|
||
|
and knocked Bathsheba's door. Ten minutes later
|
||
|
a large and a smaller umbrella might have been seen
|
||
|
moving from the same door, and through the mist along
|
||
|
the road to the church. The distance was not more
|
||
|
than a quarter of a mile, and these two sensible persons
|
||
|
deemed it unnecessary to drive. An observer must have
|
||
|
been very close indeed to discover that the forms under
|
||
|
the umbrellas were those of Oak and Bathsheba, arm-in-
|
||
|
arm for the first time in their lives, Oak in a greatcoat
|
||
|
extending to his knees, and Bathsheba in a cloak that
|
||
|
reached her clogs. Yet, though so plainly dressed
|
||
|
there was a certain rejuvenated appearance about her: --
|
||
|
As though a rose should shut and be a bud again.
|
||
|
Repose had again incarnadined her cheeks; and having,
|
||
|
at Gabriel's request, arranged her hair this morning as
|
||
|
she had worn it years ago on Norcombe Hill, she seemed
|
||
|
in his eyes remarkably like a girl of that fascinating
|
||
|
dream, which, considering that she was now only three
|
||
|
or four-and-twenty, was perhaps not very wonderful. In
|
||
|
the church were Tall, Liddy, and the parson, and in a
|
||
|
remarkably short space of time the deed was done.
|
||
|
The two sat down very quietly to tea in Bathsheba's
|
||
|
parlour in the evening of the same day, for it had been
|
||
|
arranged that Farmer Oak should go there to live, since
|
||
|
he had as yet neither money, house, nor furniture worthy
|
||
|
of the name, though he was on a sure way towards them,
|
||
|
whilst Bathsheba was, comparatively, in a plethora of all
|
||
|
three.
|
||
|
Just as Bathsheba was pouring out a cup of tea,
|
||
|
their ears were greeted by the firing of a cannon,
|
||
|
followed by what seemed like a tremendous blowing of
|
||
|
trumpets, in the front of the house.
|
||
|
"There!" said Oak, laughing, "I knew those fellows
|
||
|
were up to something, by the look on their face; "
|
||
|
Oak took up the light and went into the porch,
|
||
|
followed by Bathsheba with a shawl over her head. The
|
||
|
rays fell upon a group of male figures gathered upon the
|
||
|
gravel in front, who, when they saw the newly-married
|
||
|
couple in the porch, set up a loud "Hurrah!" and at
|
||
|
the same moment bang again went the cannon in the
|
||
|
background, followed by a hideous clang of music from
|
||
|
a drum, tambourine, clarionet, serpent, hautboy, tenor-
|
||
|
viol, and double-bass -- the only remaining relics of the
|
||
|
true and original Weatherbury band -- venerable worm-
|
||
|
eaten instruments, which had celebrated in their own
|
||
|
persons the victories of Marlhorough, under the fingers
|
||
|
of the forefathers of those who played them now. The
|
||
|
performers came forward, and marched up to the
|
||
|
front.
|
||
|
"Those bright boys, Mark Clark and Jan, are at the
|
||
|
bottom of all this." said Oak. "Come in, souls, and
|
||
|
have something to eat and drink wi' me and my wife."
|
||
|
"Not to-night." said Mr. Clark, with evident self-
|
||
|
denial. "Thank ye all the same; but we'll call at a
|
||
|
more seemly time. However, we couldn't think of
|
||
|
letting the day pass without a note of admiration of
|
||
|
some sort. If ye could send a drop of som'at down to
|
||
|
Warren's, why so it is. Here's long life and happiness
|
||
|
to neighbour Oak and his comely bride!"
|
||
|
"Thank ye; thank ye all." said Gabriel. "A bit and
|
||
|
a drop shall be sent to Warren's for ye at once. I had
|
||
|
a thought that we might very likely get a salute of some
|
||
|
sort from our old friends, and I was saying so to my
|
||
|
wife but now."
|
||
|
"Faith." said Coggan, in a critical tone, turning to his
|
||
|
companions, "the man hev learnt to say "my wife"
|
||
|
in a wonderful naterel way, considering how very youth-
|
||
|
ful he is in wedlock as yet -- hey, neighbours all?"
|
||
|
"I never heerd a skilful old married feller of twenty
|
||
|
years" standing pipe "my wife" in a more used note
|
||
|
than 'a did." said Jacob Smallbury. "It might have been
|
||
|
a little more true to nater if't had been spoke a little
|
||
|
chillier, but that wasn't to be expected just now.
|
||
|
"That improvement will come wi' time." said Jan,
|
||
|
twirling his eye.
|
||
|
Then Oak laughed, and Bathsheba smiled (for she
|
||
|
never laughed readily now), and their friends turned to
|
||
|
go.
|
||
|
"Yes; I suppose that's the size o't." said Joseph
|
||
|
Poorgrass with a cheerful sigh as they moved away;
|
||
|
"and I wish him joy o' her; though I were once or
|
||
|
twice upon saying to-day with holy Hosea, in my
|
||
|
scripture manner, which is my second nature. "Ephraim
|
||
|
is joined to idols: let him alone." But since 'tis as 'tis
|
||
|
why, it might have been worse, and I feel my thanks
|
||
|
accordingly."
|
||
|
|
||
|
THE END
|