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Extra info for Thomas Hardy: The Forms of Tragedy
Sample text
Hardy uses the blazing Christmas engagement party Boldwood gives toward the end of the novel to make this point explicitly: Intended gaieties would insist upon appearing like solemn grandeurs, the organization 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. [P. 4121 Even Boldwood's love for Bathsheba is judged adversely. His devotion does not stabilize his character, because it is based on misconceptions and inner imbalances.
3). The dichotomies of Jude the Obscure are not expressed through the rhetoric of the sentence and paragraph as pervasively as they are in Far from the Madding Crowd. The possibility of tragedy in a context where the individual will counts for very little is a major concern throughout Hardy's career; in Far from the Madding Crowd he initiates his expression of the central feature of tragedy in fiction, intensity of personality realization, coordinating this feature with other basic concepts. While the idea is developed much more subtly later, especially in Tess of the d'Urbervilles, Hardy's first approach is in the familiar dichotomous manner: he defines by setting qualities and characters against each other.
He also prepares us for Bathsheba's great error in her personal relationships. Since she has no "whim" for the "married state in the abstract" and no emotion toward Boldwood, she has no trouble in behaving correctly toward him. Indeed, she nearly allows herself to marry him, an act bereft of passion but buttressed by months of deliberation. But Troy, unlike Boldwood or Oak, does create, or at least awaken, impulses in Bathsheba that reenforce the sense of her unreliability in matters of emotion.