was Thomas Hardy (1840-1928), a popular author in his time, loved and admired by a large public sector and not appreciated by the critics wrong who judged his novels, even though "seriously sincere but uneven and at times unconvincing," "gave distinction to the years late nineteenth century "and that his poems were" the most worthy of consideration that have been written to date in the twentieth century. " 1
Reviewing the biography of this author I read that, was a pupil from 1856 to 1861, a diocesan architect and, later, take 1862 and 1865, worked under Sir Arthur Blomfield, drawing and making plants of many old churches with a view to its restoration. Perhaps, for their dedication to architecture, perfectly posed in his novels, as if it were an architectural plan, often artistic observations, as when in the novel today commented, "Far from the Madding Crowd" writes that "It is sometimes said that there is no truer test of the vitality of any artistic period that the force of the great minds of the time when the grotesque, an argument in the case of Gothic art is certainly irrefutable" (p 459).
I have not read, much less, all the prose of Thomas Hardy and his poetry alone, as much or more value than that, as judged by the critics. To date, only read his two most popular novels, having been made into films: "Tess D'Urbevilles" (1891) 2 and "Jude the Obscure" (1896) 3 . Both well-written, seemed not However, it had terrible stories with tragic endings, in which the respective actors, Tess. "The young pure" and Jude "the dark", driven by the inexorable weight of guilt, but also themselves outside, they just surrendered to fate. Novels are sad that hold a pessimistic view of life, of biblical connections (which makes the pay) and reveal a serious writer sincere, thoughtful, and no friend of moral compromise, let the eyes of a century reader XXI, what we might call "a jinx."
Fortunately, the novel that we discussed today, the original title is "Far for the madding crowd" 4 translated as "Far from the Madding Crowd" 5, although the exact name would rather "Far from the maddening crowd", is prior to the above (1874). That means it is more gentle and less dramatic, even if there are hard moments, like when Bathsheba opened with a screwdriver the coffin of his rival to find out if it was placed beside her, the child, the fruit of love of the deceased with husband of that or when the disgruntled and a little weird Boldwood shoot you love her opponent, Sergeant Troy, Bathsheba's husband. In contrast, abundant landscape fruiciosas descriptions of the fields, work on the farm and village life of his Wessex home so dear to the writer who practiced in his works and possibly his life, "contempt of court and village worship" and maybe inside feel more poet than prose.
The plot of the novel we say now, revolves around a main character, the young Bathsheba, heiress and owns a large farm, proud, independent, kind of Victorian women "indispensable for large projects, hated in parties, feared and loved in stores in times of crisis "(p.550), who, despite his decision for business, love affairs to doubt the claims of three men: the generous and faithful Gabriel Oak, the foreman and former pastor, the mature and moody and a sneaky rogue Boldwood, Sergeant Troy that her labia and grace is the first to marry, causing the beginning of more serious trouble, despite which the young landowner refuses to leave him because as he says, in a trial that hurts our sensibilities today "Only women without pride flee their husbands. There is something worse than the fact that you are dead in the house of your husband's abuse and you are living elsewhere ... Stay in your place and let them cut to pieces "(p. 448).
too judicious to let fully govern their impulses, too feminine to take advantage of their trials, young Bathsheba "Neither the nature nor art could better be perfect that among many imperfect" (p. 184), is hesitant to take their feelings and, foolishly, the wrong path, marriage to Sergeant Troy in the background who is in love with another woman, the unfortunate Fanny. Thankfully, all ends well with a happy ending and then compensates the young widow Bathsheba (her husband is killed by the jealous Boldwood) of so many tribulations. In what is for me the best chapters of the novel (LVI. A solitary beauty, after all), Gabriel and Bathsheba lovers find true love that the author sublime in this long paragraph:
"It was his that strong affection arises (if it happens to arise) when the first known two people discover the harsher aspects of their characters and know the best until much later, as love grows in the interstices of a mass of hard prosaic reality. This type of camaraderie, which usually occurs as a result of the coincidence of interests, rarely overlaps the love between men and women, as these come together, not an effort, but merely on pleasure. When, however, a fortunate circumstance allowed to stand, this mixed feeling to be the only love stronger than death: the love that water can not quench, nor floods can drown, when compared to what he normally understand by passion is evanescent as steam. "
Reviewing the biography of this author I read that, was a pupil from 1856 to 1861, a diocesan architect and, later, take 1862 and 1865, worked under Sir Arthur Blomfield, drawing and making plants of many old churches with a view to its restoration. Perhaps, for their dedication to architecture, perfectly posed in his novels, as if it were an architectural plan, often artistic observations, as when in the novel today commented, "Far from the Madding Crowd" writes that "It is sometimes said that there is no truer test of the vitality of any artistic period that the force of the great minds of the time when the grotesque, an argument in the case of Gothic art is certainly irrefutable" (p 459).
I have not read, much less, all the prose of Thomas Hardy and his poetry alone, as much or more value than that, as judged by the critics. To date, only read his two most popular novels, having been made into films: "Tess D'Urbevilles" (1891) 2 and "Jude the Obscure" (1896) 3 . Both well-written, seemed not However, it had terrible stories with tragic endings, in which the respective actors, Tess. "The young pure" and Jude "the dark", driven by the inexorable weight of guilt, but also themselves outside, they just surrendered to fate. Novels are sad that hold a pessimistic view of life, of biblical connections (which makes the pay) and reveal a serious writer sincere, thoughtful, and no friend of moral compromise, let the eyes of a century reader XXI, what we might call "a jinx."
Fortunately, the novel that we discussed today, the original title is "Far for the madding crowd" 4 translated as "Far from the Madding Crowd" 5, although the exact name would rather "Far from the maddening crowd", is prior to the above (1874). That means it is more gentle and less dramatic, even if there are hard moments, like when Bathsheba opened with a screwdriver the coffin of his rival to find out if it was placed beside her, the child, the fruit of love of the deceased with husband of that or when the disgruntled and a little weird Boldwood shoot you love her opponent, Sergeant Troy, Bathsheba's husband. In contrast, abundant landscape fruiciosas descriptions of the fields, work on the farm and village life of his Wessex home so dear to the writer who practiced in his works and possibly his life, "contempt of court and village worship" and maybe inside feel more poet than prose.
The plot of the novel we say now, revolves around a main character, the young Bathsheba, heiress and owns a large farm, proud, independent, kind of Victorian women "indispensable for large projects, hated in parties, feared and loved in stores in times of crisis "(p.550), who, despite his decision for business, love affairs to doubt the claims of three men: the generous and faithful Gabriel Oak, the foreman and former pastor, the mature and moody and a sneaky rogue Boldwood, Sergeant Troy that her labia and grace is the first to marry, causing the beginning of more serious trouble, despite which the young landowner refuses to leave him because as he says, in a trial that hurts our sensibilities today "Only women without pride flee their husbands. There is something worse than the fact that you are dead in the house of your husband's abuse and you are living elsewhere ... Stay in your place and let them cut to pieces "(p. 448).
too judicious to let fully govern their impulses, too feminine to take advantage of their trials, young Bathsheba "Neither the nature nor art could better be perfect that among many imperfect" (p. 184), is hesitant to take their feelings and, foolishly, the wrong path, marriage to Sergeant Troy in the background who is in love with another woman, the unfortunate Fanny. Thankfully, all ends well with a happy ending and then compensates the young widow Bathsheba (her husband is killed by the jealous Boldwood) of so many tribulations. In what is for me the best chapters of the novel (LVI. A solitary beauty, after all), Gabriel and Bathsheba lovers find true love that the author sublime in this long paragraph:
"It was his that strong affection arises (if it happens to arise) when the first known two people discover the harsher aspects of their characters and know the best until much later, as love grows in the interstices of a mass of hard prosaic reality. This type of camaraderie, which usually occurs as a result of the coincidence of interests, rarely overlaps the love between men and women, as these come together, not an effort, but merely on pleasure. When, however, a fortunate circumstance allowed to stand, this mixed feeling to be the only love stronger than death: the love that water can not quench, nor floods can drown, when compared to what he normally understand by passion is evanescent as steam. "
The modern reader should know well the work of Hardy and evaluate it properly, finding under the melodramatic elements of their stories, their own sense and sensibility, this "aura of timelessness primitive, almost Hesiod" 6 occurring in an idyllic pastoral world, outside the industrialized England described in the realistic novels of Dickens, for example, and making that characterizes the writer to occupy a space in the history of English literature.
© Manuel Martínez Bargueño
November, 2009
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NOTES
1. University of Cambridge. History English Literature. Volume II. George Sampson. Ediciones Pegaso, pg. 304.
2. Tess was made into a film by Roman Polanski in 1979 at a Franco-British co-production with Nastassja Kinski in the title role.
3. Jude, the dark is a 1996 production directed by Michael Winterbottom starring Christopher Eccleston and Kate Winslet in the lead roles.
3. Jude, the dark is a 1996 production directed by Michael Winterbottom starring Christopher Eccleston and Kate Winslet in the lead roles.
4. From this novel is a 1967 film version, directed by John Schlesinger Julie Christie, Terence Stamp, Alan Bates and Peter Finch in starring roles.
5. Thomas Hardy. Far from the madding crowd. Translation of Catalina Martinez Muñoz. Alba. Barcelona, \u200b\u200b2002. 584 pp.
6. Fernando Castanedo. Feuilleton substantial and exciting. Far from the madding crowd. The book of the week. El Pais, October 5, 2002
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