Works of Thomas Hardy discussion

Bridget wrote: With Lucetta, it's harder to tell what Hardy is doing because as we've discussed Lucetta is dramatic, selfish, and self-absorbed. I haven't made my mind up totally about her. That's part of what makes this an interesting story!

I fully agree with you, Bridget!

Moreover, Lucetta is a relatively secondary character, nevertheless a catalyst of chaos in Henchard's life, and to some extent, in Elizabeth-Jane's life too.

I almost forgot that Farfrae was privy to a large part of her background when Henchard had trusted him with the secret of his former relationship with a Jersey young lady. Is Donald aware that she is that belle? I am not really sure

Pamela wrote: "I loved reading the last two chapters but I'm really worried about Henchard, whose reputation is shot as well as Lucetta's deception, and Elizabeth-Jane discovering Farfrae married to Lucetta. At l..."

Pamela, you are asking all the same questions I have. :-)

I hope everyone has been enjoying our free day and if you've fallen behind, I hope you've had some time to catch up. The story is really moving along now! I think it's time to start the next chapter.

CHAPTER 31

Summary

The story about Henchard’s sale of his wife and child spreads throughout town, and from that day onward Henchard’s reputation rapidly declines. An incident evolves where Henchard’s employee provides a sample of some good wheat and then sells wheat far below the quality of the sample. This drags Henchard’s name into the mud. Elizabeth-Jane is passing the Golden Crown not long afterward and learns from the crowd outside that a meeting of the commissioners is occurring concerning Henchard’s bankruptcy.

Henchard willingly gives everything that he has to his creditors in order to settle his debts, attempting to go so far as to give them his gold watch, which they will not accept. The creditors say that despite Henchard’s rash business dealings that have created his debt, they feel he has been fair and conscientious in trying to repair the unfortunate situation. Henchard is deeply moved by these statements and sells his watch and takes the money to one of his smaller creditors. All of Henchard’s belongings and furniture are auctioned off.

Elizabeth-Jane alone feels for Henchard and attempts to reconnect with him. She writes to him, but he does not reply. She wishes she could make it clear to him that she does not blame him for his treatment of her. Henchard’s house is sold as part of the process of paying his creditors and Henchard moves into Jopp’s small cottage by the Priory Mill, despite Jopp being the man whom Henchard had mistreated, employed, abused, and dismissed.

Elizabeth-Jane sees that Henchard’s old corn stores and hay barns have been painted over with Farfrae’s name. She sees Abel Whittle at work, and he tells her that Farfrae has purchased Henchard’s entire business, which the workers are happy about. Even though Farfrae pays them less, as they no longer have to fear Henchard’s temper. Henchard’s business, which has been inactive as he fell into bankruptcy, is revitalized with a new precision under Farfrae’s ownership.

A Little More . . .

When Henchard’s corn is called pinched, blasted and smutted grain, what that means is that the grains are shrivelled, blighted and infected with black fungus.

Elizabeth-Jane learning, through the town gossip, that Henchard has gone bankrupt is a technique frequently employed in this novel: information is gained through the gossip of the villagers, and information is revealed to the reader at the same time as it is revealed to a character.

Henchard is occasionally able to confront problems of his own creation. This happens only a handful of times in the novel, and it occurs when Henchard’s mistakes are large and noticeable. He is able to attempt to pay back all his creditors, just as he was able to take a vow to stop drinking when he was aware of the dramatic mistake he had made.

Elizabeth-Jane’s empathy is apparent in her treatment of Henchard. Despite his ill-treatment of her, she reaches out to him in this difficult time. Henchard’s one other friend is Jopp, who he has also mistreated. Without the kindness and forgiveness of others, Henchard’s situation would be far grimmer.

Farfrae has bought Henchard’s business and employs his workers. This literal transition represents an emotional and social transition: Farfrae is taking over Henchard’s place, his role, and his situation in Casterbridge. Unintentionally, Farfrae is claiming everything Henchard had and wanted.

Odds and Ends

-The details of Henchard’s surrender of his watch, and the favorable impression that creates come from a real-life bankruptcy case reported in the Dorset County Chronicle, 27 April 1826. Hardy copied it into his notebook, and it was cited in the Millgate biography.

-Some of you may have noticed some familiar names in this chapter. Two of the farmers buying up Henchard’s property are part of the greater cast of Wessex characters. They are both from Far From the Madding Crowd. James Everdene is Bathsheba’s uncle. The "reserved young man, named Boldwood" is the older (but still reserved) Farmer Boldwood (view spoiler)[who becomes one of Bathsheba's three suitors (hide spoiler)]

Over to you!!

It was indeed nice to meet those two familiar characters, Bridget!

Henchard's downfall is eloquently pictured. To me, it echoes of a famous quote by Napoleon Bonaparte which was pinned on a wall at home in my childhood "You can stop on the way up, but never on the way down."

Henchard's wife he kind of reconciled with has died, his belle married his very rival virtually under his eyes although she had reluctantly promised to him, and after his bankruptcy, his business including the personnel is taken over by the same rival who had his name painted over his...

A smear of decisive lead-coloured paint had been laid on to obliterate Henchard’s name, though its letters dimly loomed through like ships in a fog. This is an interesting comparison, but it also shows how hard it is to completely erase Henchard from the surface of Casterbridge.

Henchard has sold his house and his ostentatious furniture and his valuables and moved to Jopp's cottage. Just like the furmity woman, Jopp is one of those recurring characters, birds of ill omen.

We remember from chapter 26 that Jopp had stayed on in Casterbridge and was living in a "pis-aller" (nowadays a pis-aller is used exclusively as a last resort, a second best or less worse solution), "a back slum", an ill- famed neighbourhood. This is also a mirror image of Henchard's loss of reputation. However we remember how threatening Jopp's attitude and words were at the end of that same chapter 26:

"You shall be sorry for this, sir; sorry as a man can be!” said Jopp, standing pale, and looking after the corn-merchant as he disappeared in the crowd of market-men hard by.

I am curious to see what will come of this odd partnership with Jopp, who also holds secrets others do not.

I wonder if Henchard is punishing himself by moving in with Jopp in the slum. Jopp would not be pleasant company and might even be abusive. Henchard could be giving up and falling into a depression if he's making that type of a choice.

Elizabeth-Jane was dependent on getting a small amount of money monthly from Henchard. Had he set up a fund for her at the bank or is she dependent on him finding work? Her netting income probably would not cover all she needs.

Connie wrote: "I wonder if Henchard is punishing himself by moving in with Jopp in the slum. Jopp would not be pleasant company and might even be abusive. Henchard could be giving up and falling into a depression..."

I wonder just as you do Connie about Henchard's situation. And why stay now his reputation, hopes and ambitions have been so trampled?

And similarly, as I was reading the chapter I too wondered about Elizabeth-Jane's situation. For her to stay in this community only brings her pain about her father and Farfrae.

Well, Hardy is taking me on quite the character journey! Two sentences in the beginning of this chapter challenged the opinion I have formed of Henchard. The first is ‘The amends he had made in after life were lost sight of in the dramatic flare of the original act’. The second is ‘It was strange how soon he sank in esteem.’

I am not a supporter of Henchard or his life choices but believe there is great merit in pausing once in a while to survey all the angles of a person/situation. The quotation from Napoleon supplied by Claudia is spot on. I’m not sure the phrase ‘feel sorry for’ is how I feel towards Henchard, but I do not have feelings of schadenfreude either.

To me, Henchard is an individual caught in the centre of a Greek tragedy. We have mentioned how the townspeople act as a Greek chorus. There is much of Greek tragedy in Hardy’s novels and ‘The Mayor of Casterbridge’ is a prime example.

I enjoyed the interpolation of Hardy characters from other novels. To me, such situations, albeit brief, expand the world of the author. Trollope comes to mind as well. His Chronicles of Barsetshire remain one of my most remembered readings.

Connie wrote: "I wonder if Henchard is punishing himself by moving in with Jopp in the slum. Jopp would not be pleasant company and might even be abusive ..."

I like this angle very much, Connie

Michael Henchard

We've seen several instances of Henchard's sense of fairness and upright moral code. Just one detail in ch 31 is a typical example of this: when he decided it wasn't morally right for him to keep his fancy watch, so he sold it to give the proceeds to: "a cottager of Durnover in straitened circumstances" - one of his poorer creditors.

We were also told (by Abel Whittle) that the wages Henchard gave the workers were more generous than Farfrae's, whose were: "a shilling (1/-) a week less" (worth about £2.50 now). The average weekly wage for farmworkers in 1886 was 12/- to 15/- a week, so that loss would be noticeable. However Abel Whittle (who memorably had been dragged out of his bed by Henchard, to go to work with no trousers on) prefers a boss who does not fly off the handle so easily!

Farfrae is evidently cannier, and the better businessman, as Thomas Hardy reminds us with his final sentence:

"the scales and steel-yards began to be busy where guess-work had formerly been the rule."

Henchard judges by his senses and experience, "guessing" at the weather and so on, whereas Farfrae is more measured in every way because of his education. We can see though that Henchard is open-handed and generous.

Thanks Bridget for explaining the description of the grain. When we first met Henchard as the mayor, the townspeople were complaining that he sold "overblown" grain of poor quality.

The suggestion was made that this proved Henchard was a swindler, deliberately hoarding up bad grain and selling it at a profit. Most of us preferred to reserve our judgement, because he protested that he had had no choice, and Thomas Hardy explained that the harvest weather had been poor. (Then Farfrae showed his own generous side by sharing a technique for improving the grain.)

Today's chapter is related:

"In his desperation, [Henchard] failed to preserve that strict correspondence between bulk and sample which is the soul of commerce in grain."

We read then that one of his men was mainly to blame:

" ... in his great unwisdom, having picked over the sample of an enormous quantity of second-rate corn which Henchard had in hand, and removed the pinched, blasted, and smutted grains in great numbers. The produce if honestly offered would have created no scandal; but the blunder of misrepresentation, coming at such a moment, dragged Henchard’s name into the ditch."

So again, it does not look as if Henchard himself would have knowingly been a party to a deliberate deception.

We are told that this episode marks the beginning of his downfall, and I feel terribly sorry for Henchard at the moment. It is so poignant, when his creditors comment on Henchard's fair handing of his own bankruptcy, that he: "was more affected by this than he cared to let them perceive."

I can quite see that Henchard, whose overriding fault after all seems to be that he is headstrong (Thomas Hardy's own word) would be punishing himself by going to live with Jopp. Thanks Claudia, for quoting Jopp's original vengeful curse on him!

And what an accurate reflection on society Thomas Hardy made, about the gap of many years after he sold his wife, when:

"the act having lain as dead and buried ever since ... the black spot of his youth wore the aspect of a recent crime" whereas "had the incident been well known of old and always, it might by this time have grown to be lightly regarded as the rather tall wild oat ... of a young man".

Chapter 31 brings together other characters from the novel, such as the furmity woman, Abel Whittle, and Mr Grower (who witnessed Lucetta's wedding to Farfrae as well as being a creditor) and those from other stories by him.

As Bridget points out, we have a nice feeling of authenticity for this part of "Wessex", with the other creditors being those we recognise: Farmer James Everdene, Bathsheba's uncle (who had already died at the start of Far From the Madding Crowd) - and the shy young man Boldwood who was mentioned before in this novel but of course features more prominently in Far From the Madding Crowd.

We get a real sense of history, continuity and place from this, and as Bridget says, they are younger men, because this novel was set earlier.

Locations

Jopp’s cottage by the Priory Mill "—the sad purlieu to which he had wandered on the night of his discovery that she was not his daughter."

This used to be situated by the river on the North side of the town at the bottom of Friary Hill. Henchard has deliberately chosen an undesirable spot.

Bionic Jean wrote: "We are told that this episode marks the beginning of his downfall, and I feel terribly sorry for Henchard at the moment...."

I feel sorry for him, too, Jean! It's interesting how Hardy controls that delicate balance of Henchard's character. In some chapters, we are allowed to see a little more of the more objectionable sides of his character--roughness of manner, impulsiveness, etc., and our opinion of him slides closer to dislike. Then in others, the pendulum swings to his better side--his generosity, honor, and honesty, and our compassion is stirred. Just more proof of Hardy's greatness, if anyone needed any!

I was struck by the description of Henchard as he confronts his creditors: "His countenance had somewhat changed from its flush of prosperity; the black hair and whiskers were the same as ever, but a film of ash was over the rest" (168). I like this imagery; Hardy's portrayal of Henchard's coloring as "rouge et noir" and references to the red light in his eyes has always led me to think of Henchard as having (for me) fiery tones to his appearance as well as his temper and impulsiveness. Now, however, that fire seems to have gone out and just left him coated with the dead remains of what was once lively and active. At this moment, that spark that propelled him so far up in his station in life seems to have been snuffed out. As to whether any embers burn beneath that coating of dead ash, ready to burst back into flames at the first opportunity, we shall see!

Cindy wrote: Hardy's portrayal of Henchard's coloring as "rouge et noir" and references to the red light in his eyes has always led me to think of Henchard as having (for me) fiery tones to his appearance as well as his temper and impulsiveness. Now, however, that fire seems to have gone out and just left him coated with the dead remains of what was once lively and active

Very well said, Cindy. I had forgotten those early descriptions of Henchard's appearance, and now he is indeed ashy.

I think Connie is right in saying Henchard is depressed, that is supported by the fact that he is refusing to see anyone. And in turn that leads straight on to Peter's comparison of this novel to a Greek tragedy, which feels right to me.
Pamela's question about why Henchard stays in Casterbridge fits into depression as well. I think maybe Henchard lacks the will to go very far from where he currently lives. He's an older, defeated man who can't muster the drive to start over somewhere else.

I think we were all struck by the quality of the writing in the opening because we've quoted much of the first two paragraphs. My personal favorite was this line:
"He now gazed more at the pavements, and less at the house fronts, when he walked about; more at the feet and leggings of men, and less into the pupils of their eyes"
Hardy uses the word "velocity" to describe Henchard's decline, a great word choice. Bankruptcy is like that in real life, as Claudia's excellent quote from Napolean illustrates.

I know we are all wondering what will happen to Elizabeth now. I wonder, Jean, how far Port-Bredy is from Casterbridge. You mentioned it might be an option for Elizabeth, and I'm trying to gage how far away that source of income is for her. Thank you btw for the location info about Jopp's house being in an undesirable part of town. I knew it was bad for Henchard to be under Jopp's roof, but I didn't know he was also living in a bad location.

Bridget wrote: "I wonder, Jean, how far Port-Bredy is from Casterbridge ..."

14-16 miles, depending on which way you go.

I enjoy seeing how words are used and how their meanings change over time, so I loved the reference to Henchard's "mad freak." It's like we've come full circle! Then there was the Chapter 26 visit to the weather-prophet, called "Wide-oh" behind his back. There seem to be multiple -- and contradictory -- definitions for this term, which I first encountered a few years ago via the Scottish sitcom "Still Game." Amused to see it here!

Keith wrote: "I enjoy seeing how words are used and how their meanings change over time, so I loved the reference to Henchard's "mad freak." It's like we've come full circle! Then there was the Chapter 26 visit ..."

Hi Keith, so nice to see you here. I too liked the term "mad freak". I think that phrase should make a comeback, and people should start using it again. Hardy is a master at using language, and often old words whose meanings have changed. It's one of the things I enjoy in his novels.

CHAPTER 32

Summary

On the lower part of Casterbridge are two bridges where those in unfortunate circumstances often linger to reflect.

”For to this pair of bridges gravitated all the failures of the town; those who had failed in business, in love, in sobriety, in crime”

The nearest of the two bridges is the haunt of those from poorer backgrounds, who do not mind being seen by passersby in the middle of their misfortunes. Jopp often stood on this bridge after losing his position as Henchard’s manager. The second bridge is the place for unfortunate souls of a more privileged background. These individuals often stand looking into the river

”Some had been known to stand and think so long with this fixed gaze downward, that eventually they had allowed their poor carcasses to follow that gaze”

and sometimes their bodies are found the next morning floating at that location.

Henchard walks to the second bridge and is gazing into the water when Jopp arrives and greets him. Jopp tells Henchard that Lucetta and Farfrae have moved into their new house, which is Henchard old house. Farfrae has also purchased all of Henchard’s furniture to use in the house. Henchard says ironically that Farfrae will likely buy his body and soul as well.



Henchard turned slightly, and saw that the comer was Jopp, his old foreman
by Robert Barnes, Plate 14, Thomas Hardy's The Mayor of Casterbridge, which appeared in the London The Graphic, 3 April 1886

After Jopp leaves and Henchard remains at the bridge, a gig passes and Farfrae jumps out. He stays to speak to Henchard and asks if it’s true that he is considering leaving town. Farfrae kindly offers Henchard a space in his home (Henchard’s old house) until Henchard is able to sort out his circumstances. Henchard refuses, saying that they would surely quarrel. As they walk back to town together, Farfrae instead offers Henchard’s his pick of the furniture that he purchased, saying he bought it all that Henchard might have those things he cares about. Henchard is moved by this generosity and exclaims that sometimes he wonders if he has wronged Farfrae.

Elizabeth-Jane’s new apartment, situated as it is across from Henchard’s old home, is now in close proximity to the lives of Farfrae and Lucetta. Elizabeth-Jane avoids looking across the street as much as possible, as she occupies herself with netting and studying books.

Elizabeth-Jane hears that Henchard has fallen ill and she arrives at Jopp’s cottage. Despite Henchard’s initial protests that he does not want to see her, Elizabeth-Jane stays and cares for her father and he recovers quickly with her assistance.

Henchard appreciates and cares more for Elizabeth-Jane. He is able to seek work at Farfrae’s business and is immediately employed. Farfrae wishes to help Henchard as much as possible, but keeps distance between them, knowing the older man’s strong temper. However, Henchard often sees Farfrae and Lucetta coming and going from his old home.

Henchard hears a rumor that Farfrae will be elected as mayor soon. As Henchard works, Farfrae’s replacement of himself in reputation, location, and love festers in his mind. He feels Lucetta’s loss far more desperately than he had ever felt interest in her when he could have had her. Henchard is overheard muttering to himself a countdown of days, and when questioned, he says he is counting down the days until he may be released from his oath against drinking.

One Sunday, Elizabeth-Jane is sitting by her window when she overhears voices in the street, and one that exclaims that Michael Henchard has started drinking again after twenty years of sobriety.

A Little More . . .

The chapter starts with descriptions of two bridges. The bridges symbolize isolation, positioned as they are outside of town, and used as places for the reflections of the unfortunate. The descriptions take on a macabre tone. Do we think there is foreshadowing going on here?

Jopp’s news of Farfrae’s purchases is further evidence of the ways Farfrae is replacing Henchard in Casterbridge. These changes represent Farfrae’s social replacement of Henchard (in more ways than by living in his house). I had to wonder if Jopp derived some pleasure in telling Farfrae about the furniture belonging to Farfrae. It seems to me like the illustration by Barnes picks up on that kind of attitude on Jopp’s part.

Farfrae’s act of generosity in offering shelter, while innocent on his part, is difficult for Henchard to hear because it would put him in reach of Lucetta and his old property, which are things, as Henchard sees it, that Farfrae has “stolen” from him. He points out that he and Farfrae would quarrel, despite Farfrae having always been kind and never quarrelsome with Henchard. Henchard is, however, not entirely blinded by his jealousy. He is able to admit Farfrae’s kindness. And at this point, I'm starting to almost feel hopeful for Henchard.

In attempting to flee from exposure to Lucetta and Farfrae’s happy married life, Elizabeth-Jane accidentally positioned herself close to them. She is forced to see their lives, even though she tries to avoid this.

Elizabeth-Jane is able to break through Henchard’s pride with her kindness. Until this point, Henchard has never admitted his weakness or that he could need help from someone else.

Henchard is also directly exposed to Lucetta and Farfrae’s happily married life once he works at Farfrae’s business. The complex theme of love is explored by scenes of Henchard and Elizabeth-Jane, father and daughter, both pining over the same marriage.

Working at Farfrae’s allows Henchard’s wounds time to quickly fester. Henchard, although he is often rash in the moment, can also build a deep grudge over time. He focuses on being able to drink again as a way to relieve himself of his pain and resentment. As usual, his anger is focused on another and not at himself for his mistakes. And it's at this point that I lose hope for Henchard.

Henchard drinking again marks a return to the angry, spontaneous, and extravagant personality he exhibited when he sold his wife and child.

About the two bridges

The two bridges in Casterbridge, are in fact real bridges crossing the Frome River. They still exist today, although as modern versions, not as Thomas Hardy would have known them.

The first is called Swan Bridge, the second Grey's Bridge. Here's a picture of Grey's Bridge.



I found this picture on "The Victorian Web". Here's what they say about it:

"A recent colour photograph of Grey's Bridge shows a more benign face of the edifice to which, in Thomas Hardy's 1886 novel The Mayor of Casterbridge those who are down-and-out and even those contemplating suicide tend to drift. The eighteenth-century stone bridge between the suburb of Durnover and the fields to the east of town occurs in a number of Hardy's stories, including A Few Crusted Characters, Under the Greenwood Tree, Far from the Madding Crowd, and The Trumpet-Major."

Looks like Grey's Bridge figures in many Wessex tales. Hardy must have crossed it hundreds of time.

Sorry I couldn't find a picture of Swan Bridge. Well, at least not a reliable one.

The misérables who would pause on the remoter bridge were of a politer stamp.

It looks like a nod to Victor Hugo who widely described many of them in his eponymous novel. Otherwise Thomas Hardy would have written "the unfortunates" (which comes up a little later in this chapter), or "the wretched".

There is something of a "Mephistophelian Visitant" in Farfrae, at least in the way Henchard is seeing him now, after he has learnt from the apparently schadenfreudigen Jopp that Farfrae has bought not only Henchard's house but his furniture, that was never moved out of the house. “My furniture too! Surely he’ll buy my body and soul likewise!”


This scene with Farfrae is dramatically ironical. Donald is asking him not to emigrate. He eventually offers him accommodation in his home, Henchard's former house, and suggests he may recover his furniture - Farfraes have plenty of them after all. This is a reversed mirror image of Henchard's offer for a manager position (and his generous offer for accommodation until Farfrae found something else) to Farfrae at the beginning of the novel.

’Tis turn and turn about, isn’t it! Do ye mind how we stood like this in the Chalk Walk when I persuaded ’ee to stay? You then stood without a chattel to your name, and I was the master of the house in Corn Street. But now I stand without a stick or a rag, and the master of that house is you.”
“Yes, yes; that’s so! It’s the way o’ the warrld,” said Farfrae.
“Ha, ha, true!” cried Henchard, throwing himself into a mood of jocularity. “Up and down! I’m used to it. What’s the odds after all!”

We note here that Henchard has also lapsed into his former colloquial and dialectical style, just as he will soon relapse into his former addiction after the extinction of his oath and twenty one years without any alcoholic drink.

Henchard has now gone full circle, even as a paler mirror image of his former self. He is even working with Farfrae's firm as a trusser, at the same level as the others.

In the course of this chapter, Henchard's work clothes have gradually become washed and worn out.

Now he wore the remains of an old blue cloth suit of his gentlemanly times, a rusty silk hat, and a once black satin stock, soiled and shabby.

This is another testimony of his downfall and his loss of social statute, also embodied by some recurring background protagonists who also stop over at one or the other bridge, depending on the extent of their own misfortunes: Jopp, Mrs Cuxsom, Christopher Coney, Abel Whittle.

I definitely felt the macabre tone of the beginning of this chapter, as you point out, Bridget. Thank you for the illustration and photo! The illustration, with its dark and menacing swirling lines, brought to mind another macabre piece, Van Gogh's Starry Night.



Trouble is certainly brewing.

Some had been known to stand and think so long with this fixed gaze downward that eventually they had allowed their poor carcases to follow that gaze; and they were discovered the next morning out of reach of their troubles, either here or in the deep pool called Blackwater, a little higher up the river.

There is a mortiferous feel in these lines - as Bridget and Kathleen suggested. The deep pool called "Blackwater", no fish left in the river, as if the river itself were dead, the obsessiveness of the unfortunates in watching fixedly the river from the bridge definitely hint at something sombre and perhaps ominous.

One in straits on this [bridge] (...) watched the current whenever a stranger approached, as if some strange fish interested him, though every finned thing had been poached out of the river years before.

Bridget wrote: "Sorry I couldn't find a picture of Swan Bridge. ..."

That's because it doesn't exist any more! The former brick bridge called "Swan Bridge" was replaced by a stone wall in 1954. It's at the bottom of High St. East. But Grey's stone bridge of 1748, which Hardy describes as more isolated and frequented by those who have fallen on hard times, and are depressed, still remains. It's further outside Dorchester.

Great research, Bridget!

We had foreshadowing of this in ch 19. I wrote a post about the pool Thomas Hardy calls Blackwater, and its environs: LINK HERE

Indeed Claudia, we have to hope that the rumour is exaggerated and that Michael Henchard does not slip back into his catastrophic old drinking habits 🤔

However his looking forward to the anniversary of his oath with anticipation, does not bode well. Once again Thomas Hardy has left us with such a powerful cliffhanger. 🤔

I'm not sure how I feel about Farfrae's actions in this chapter. Hardy presents them as generous and compassionate, and I believe they are coming from that place. I just wonder about his judgment.

Despite Farfrae's lack of intention of taking over Henchard's entire life, he MUST see that it is still happening. Even with the most charitable of intentions, how could he expect Henchard to not only have to experience it, but actually move into his former house and watch, up close, Donald enjoying everything that Henchard has lost?

I absolve Donald of any suspicion of Henchard's feelings for Lucetta, but still. The former Mayor has recently lost his wife, while Donald and his new bride are in their honeymoon phase--not an easy thing for a newly-bereaved widower to witness. And I must say, the awkwardness of Donald's offer of shelter to Henchard almost took my breath away! I imagined Lucetta’s expression upon being told Henchard would be living with them! LOL

I just feel like Donald's offer, while well-meant, is misguided. Although some of the reasons Henchard has lost everything are due to his own actions, we have also been made aware that some of it was just bad luck. Henchard is probably tormented by the memory of his role in Farfrae's presence in the town and how different his life would be if he hadn't pressed the younger man to stay. This knowledge only makes watching Farfrae live the life he used to have even more galling. It seems to me that it would be beyond the capability of most human beings to endure the situation with a positive outlook, no matter how much they might want to. How could Farfrae think that staying in a place where Henchard would daily be reminded of his ruin and public humiliation a better move than relocating to a place where he could have a fresh start and a chance to lick his wounds and heal?

Meanwhile, poor Elizabeth-Jane flees in the night to escape the newlyweds, only to have them turn up on her doorstep! She can’t catch a break!

Cindy wrote: "How could Farfrae think that staying in a place where Henchard would daily be reminded of his ruin and public humiliation a better move than relocating to a place where he could have a fresh start and a chance to lick his wounds and heal?..."

Good point, Cindy. Surely Farfrae has contacts outside of Casterbridge that he could have used to set Henchard up with some way to support himself far away from all his grief and humiliation.

Also, what happened to Lucetta wanting to leave Casterbridge? Back in ch. 27 she tells Farfrae "But I should wish to have my own way in some things . . . . if I wished not to live always in Casterbridge, for instance". Why has she agreed to settle down in Casterbridge?

As Claudia pointed out a while ago, it's not clear how much Farfrae knows about Lucetta's past. Henchard told him a story about being beholden to two women but didn't mention Lucetta's name. Could this be something to watch out for now that the Farfraes have stayed in Casterbridge?

Claudia wrote: "The misérables who would pause on the remoter bridge were of a politer stamp.

It looks like a nod to Victor Hugo who widely described many of them in his eponymous novel. Otherwise Thomas Hardy wo..."

I agree, there are certainly echoes of Victor Hugo here. Echoes of Faust too; Henchard is so much like Faust, always seeking some happy bliss which is always out of reach.

Well done pointing out that Henchard is slipping back into his dialogue. I remember how Henchard criticized Elizabeth for her lack of education, and here he is slipping back into that pattern himself.

Kathleen wrote: "I definitely felt the macabre tone of the beginning of this chapter, as you point out, Bridget. Thank you for the illustration and photo! The illustration, with its dark and menacing swirling lines..."

Love the Van Gogh painting!! He was a tormented man, kind of like Henchard now. I totally see the connection to the Barnes illustration. All those swirling lines.

Bionic Jean wrote: "Bridget wrote: "Sorry I couldn't find a picture of Swan Bridge. ..."

That's because it doesn't exist any more! The former brick bridge called "Swan Bridge" was replaced by a stone wall in 1954. It..."

Ah! Thank you Jean for solving the mystery!! Every time I googled "swan bridge dorchester" I kept getting pictures of swans in front of bridges in (I assume) England. LOL

There are a lot of them, for sure! 😆

CHAPTER 33

Summary

By Casterbridge tradition, many workingmen go to The King of Prussia for just one half pint of liquor on Sunday afternoons after church. The church musicians are there too. It’s an afternoon of conviviality among the townspeople. Henchard chooses to begin his drinking that day at The King of Prussia. The other patrons remark that he is a stranger there (because he used to not drink), and Henchard replies that he has been in a melancholy mood lately, and they all know why, and hopes to lift it. He calls for a song, and the choir members say they will offer a hymn. Henchard looks outside and sees Farfrae passing in the street with Lucetta on his arm.

Henchard requests the hundred-and-ninth psalm and when the choir leader protests and says the fourth instead, Henchard roars that they shall sing the hundred-and-ninth. The intimidated choir complies, and the words of the psalm describe a cursed man who dies and leaves little prosperity or happiness behind him. Farfrae and Lucetta pass by again and Henchard, indicating Farfrae, says that he is the man they’ve been singing about.

The choir is horrified and says that they would not have sung the psalm if they thought the words were meant for a living man. Elizabeth-Jane arrives and is able to convince Henchard to leave The King of Prussia. As they walk home, Henchard repeats the ending of the sung psalm and then he makes threats against Farfrae:

”He has taken everything from me, and by heavens, if I meet him, I won’t answer for my deeds”

Elizabeth-Jane is alarmed by these words and asks her father what he is planning, but he does not answer.

Elizabeth-Jane keeps a close eye on her father. She comes to the yard and works with him in order to do so. After a few days, Lucetta happens to stumble upon Henchard and Elizabeth-Jane working together. It is obvious that Lucetta had no idea Henchard was employed by her husband. Henchard is sarcastic with Lucetta. He makes a show of the difference in their status saying that humble workmen are honored to have the lady of the house look in on them. Lucetta is embarrassed and hurt by his bitterness and the irony of the situation.


Henchard, with withering humility of demeanor, touched the brim of his hat to her by Robert Barnes.

The next day, Henchard receives a note from Lucetta asking him not to speak to her in such a way when she has done him no injury and only wishes for him to be well off in her husband’s employ. Henchard laughs at her foolishness in writing him such a letter, which he could easily show to Farfrae, before throwing the letter into the fire.

Elizabeth-Jane often brings her father tea, as one strategy for preventing him from going out to drink alcohol. One day, on this errand, she arrives to find Henchard and Farfrae both working on the top floor of the corn stores. As she watches, she sees Henchard raise his hand up behind Farfrae’s back as the younger man stands near the edge of the floor. While Henchard does nothing else, the odd expression on his face causes Elizabeth-Jane to decide that she must warn Farfrae in some way.

A Little More . . .

When Henchard joins the workingmen at the King of Prussia, they are at first sympathetic for his situation. Henchard has become one of them. The characters that have been presented as the villagers, the gossips, and the ones who observe the wealthier characters throughout the novel now surround him.

Henchard imposes his will on the choir and on the gathered group, and we get to see Henchard’s temper flare up. The choir’s willingness to sing his chosen psalm demonstrates their fear of Henchard’s temper and his outburst. Henchard uses the psalm as a curse, connecting its situation with Farfrae, like a prayer for his downfall.

The choir’s horror at this use of the psalm shows that they believe in the power of these words to inflict harm. Elizabeth-Jane, while not alarmed by Henchard’s use of the psalm, is alarmed at the possibility of what her father might physically do to harm Farfrae. She is focused, as usual, on rational possibilities.

Elizabeth-Jane witnesses a confrontation between Henchard and Lucetta that demonstrates the extent of Henchard’s bitterness. He addresses Lucetta as if he is a lowly servant, mocking her for her position so far above him, which he presents as if it is her fault.

Henchard’s laughter at Lucetta’s foolishness, before he throws her letter away, demonstrates his understanding that he still has some power over her because of their secret past.

Elizabeth-Jane witnesses an interaction between Farfrae and Henchard, which demonstrates his desires to Elizabeth-Jane as well as to the reader. Instead of directly presenting Henchard’s internal thoughts and feelings, the novel presents his emotional state through a considered action: the death of Farfrae.

The Choir and the Musical Hardy Family

When Hardy uses the word “choir” he does not mean a group of singers, as we might think of the word choir today, but rather church musicians. Hardy’s grandfather, father and uncle played for many years in the choir of St. Michael’s, Stinsford.

When Henchard asks for music to get him “out of his minor key”, the band leader suggests the Fourth Psalm put to a tune by Samuel Wakely, who was a favorite composer of church music for Hardy’s grandfather.

The Fourth Psalm is very different from the psalm Henchard suggests. It proclaims
”the Lord will hear when I call unto him”

and concludes with the comforting verse

”I will both lay me down in peace, and sleep; for thou, Lord, only makest me dwell in safety.

Quite different from the 109th Psalm that Henchard requests in which God’s servant, David, the supposed author of the Psalms, curses his enemies.

Henchard doesn't like Wakely's tune and asks for the Old Wiltshire instead. The Wiltshire was a particular favorite hymn tune of Hardy’s. It is usually set to the 34th Psalm which is far more positive saying "none of them that trust in Him shall be desolate".

Wouldn't Henchard be a different man if he had even a little of that kind of peace, faith or grace in him.

Over to all of you! Looking forwarding to seeing your thoughts.

We see again what alcohol does to Henchard. Even though he's always had a temper, he only seems to follow through when he's been drinking such as when he sold his wife. The words of the hundred-and-ninth psalm, and the event in the hay loft make me fear for Farfrae.

Thank you Bridget for this great summary and additional information on Psalms and church music. Indeed, some Psalms had vindictive verses but they find a balance thanks to verses that express hope and soothe one's distress in moments of turmoil.

Henchard is obviously not in this mood and not to be dissuaded from having this Psalm sung and indirectly cursing Farfrae. Indeed, words have a lasting effect on people's lives. Some words can be a blessing and others a curse, and in both cases, lastingly influence someone's course in life. Music has also a power of depressing (or at least of enhancing an already sad mood) or, oppositely, of soothing and even rejoicing troubled souls. The church musicians are definitely aware of all this, even dimly, even with their simple words !

Moreover Henchard does not see that these sad verses could very well apply to himself, but he sends the curse to the next generation - i.e. upon Farfrae.

Elizabeth-Jane is once again proving how selfless she is, but also how unnoticed she seems to go through life. Indeed, Henchard does not mind when she is now working with him and is seen by everyone doing so. We remember that he was furious when he learnt that she had helped serving at the Three Mariners.

Henchard's (almost) silent confrontation with Lucetta is brimming with underlying innuendos and Henchard's employ with Farfrae's is likely to explode any time.

Cindy wrote: "I'm not sure how I feel about Farfrae's actions in this chapter. Hardy presents them as generous and compassionate, and I believe they are coming from that place. I just wonder about his judgment. ..."

Cindy, I couldn't have said it as well as you did about this chapter. I can't believe Farfrae hasn't realized that this is going to cause so many problems, and he is not helping Henchard. It's enough that he doesn't realize the damage he causes when he married Lucetta but he certainly should have with his buying Henchard's business, home and furniture — and then asks him to move in with him!

I really feel bad regarding the end of Henchard's self-imposed ban regarding liquor. That and his work situation are indeed explosive.

Pamela wrote: "I can't believe Farfrae hasn't realized that this is going to cause so many problems, and he is not helping Henchard. ..."

Henchard has to feel that fate has set Farfrae up as his nemesis. He knows, and has acknowledged several times, that the younger man bears him no ill will and is not actively out to get him, but yet . . . it is still happening, and that has to be hard not to resent. If Henchard had been ruined but his losses had been absorbed by several men instead of one: if Farfrae had bought the business, but another man the house and yet another won the heart of Lucetta, then possibly Henchard's ire would have dissipated over time. But it has to feel like identity theft at this point for Henchard! If I were him, I'd be wondering what good it would do for me to achieve or acquire anything--Farfrae would be along to scoop it up for his own shortly thereafter!

I don't condone his return to drinking or his murderous thoughts, but I can understand why he indulges both.

This chapter does not speak well for anyone with the exception of Elizabeth-Jane. She is patient and perceptive. She willingly supports her father, regardless of his social decline, financial instability, and, most impressive to me, she does everything she can to deal with his newfound drinking problem. Never accusatory, and often with creative means, she tends to Henchard as he perceptively slides into a new painful dimension of life.

As for Lucetta, I find it hard to believe she is so infatuated with Farfrae that she acts much like a teenager with her first crush. She has too much experience with men and life to be so out of tune with her surroundings. What could Hardy have up his sleeve for her future?

Moving on to Farfrae, I’m willing to believe he is a man who wants the best for others, and wants to be very fair to the drastically altered state of his former employer. That said, to live in Henchard’s previous house, to cast Elizabeth-Jane so casually aside, and to not realize the possible consequences of totally co-opting Henchard from his previous position and role in Casterbridge into a labourer speaks, at least to me, of person who, while kindly, is also a person who cannot read the room. What could be his future in this novel?

Elizabeth-Jane, stay strong.

A quick note on the illustration. While the central focus of the illustration is on Henchard and his daughter who stand inside a dark barn, our eyes cannot but help focus on Lucetta who looks in on them from the sunlight outside the barn. While she is distanced from Henchard and his daughter, she is bathed in light. Barnes’s illustration has interesting proportions. Lucetta’s position, outlined by the doorframe, creates the feeling of a picture within a larger picture. Lucetta is within her own world, her own frame, her own light.

The body positions of Henchard and Elizabeth-Jane show them deferring to Lucetta. Henchard’s hand to his hat further indicates his deferral to his inferior position in the presence of Lucetta. We do not see Elizabeth-Jane’s face. We do see Henchard’s face. His look is neither subservient nor angry. To me it is more one of smouldering patience. Lucetta’s body is positioned to suggest surprise. Her face is in full light.

The text states that what is occurring is that Elizabeth-Jane is helping her father who kept his eyes ‘fixed on the bond he twisted.’

When I look closely at the illustration what Henchard (and Elizabeth-Jane) hold looks suspiciously like a noose.

Donald Farfrae

I think we are all in agreement about Farfrae being well meaning, but oblivious. There is a line in this chapter that makes me think this is exactly what Hardy intends us to believe.

It happens as Donald and Lucetta are passing the hay-barn while Henchard and ELizabeth are working.

"A feeling of delicacy, which even prompted Farfrae to avoid anything that might seem like triumphing over a fallen rival, led him to keep away from the hay-barn when Henchard and his daughter were working"

That one word - "even" - is doing a lot of the work in that sentence. It suggests to me that the tension of Henchard working on the property he used to own, near the woman he almost married is so thick that even someone who "can't read the room" (as Peter said) picks up on it.

Connie wrote: "We see again what alcohol does to Henchard. Even though he's always had a temper, he only seems to follow through when he's been drinking such as when he sold his wife. The words of the hundred-and-ninth psalm, and the event in the hay loft make me fear for Farfrae..."

I fear for Farfrae too, Connie. I think we all do. Claudia used the word "explosive" which, I think, is perfect. And I agree with Cindy its easy to understand why Henchard is reacting the way he does. I liked her point that things would be different if Henchard's property had been divided amongst many buyers but consolidated as it is with Farfrae is maddening!

I'm a little afraid for Lucetta as well because of this reaction to her note: "Poor fool!" said Henchard with fond savagery"

It's an interesting combination of words "fond savagery". It sounds aggressive to me, almost like the words of an obsessed stalker. I was surprised Henchard threw her note into the fire. I expected him to keep it and hold it over her later. Maybe he feels the secrets he knows about her give him power over her without the note.

I should have mentioned this before, but we will have to wait a day to see what Henchard does next. Tomorrow is a FREE day. We will resume with chapter 34 on Thursday

I hope everyone has been enjoying our FREE day. I know I've been catching up on many of my other reading pleasures :-)

Now to continue the saga of Henchard and his possible revenge . . .

CHAPTER 34

Summary

The next morning, Elizabeth rises early and meets Farfrae as he leaves his house. She says that she has something to tell him about Henchard and did not want to alarm Lucetta by calling at the house. She says that she fears Henchard will insult or harm Farfrae in some way. Farfrae’s reaction is one of disbelief. He does not suppose that the poor man in his employ with whom he gets on well would do him any actual injury. Elizabeth leaves Farfrae, unhappy that she has not been able to impress upon him the seriousness of the situation.

However, Farfrae does not forget the conversation and he knows from Elizabeth's serious character that she would not make such a warning lightly. Later that day, Farfrae meets the town clerk about his kind plan to set Henchard up in a new shop. The clerk tells Farfrae that others see what he does not:

“But, Farfrae, others see what you don’t. Henchard hates ’ee—ay, hates ’ee; and ’tis right that you should know it. To my knowledge he was at the King of Prussia last night, saying in public that about you which a man ought not to say about another.”

Farfrae feels obligated to keep Henchard in his employ, as the man was his friend for so long, but he decides to give up on securing him the new seed shop. He tells the owner of the shop that the plan has changed, and the owner then tells Henchard that a plan of the council’s to set Henchard up in the shop was struck down by Farfrae.

When Farfrae returns home that evening, he is visibly troubled. He confesses to Lucetta that he is confused by Henchard’s hatred of him. He cannot understand why Henchard feels so strongly about the situation, saying that he acts as if they are in an old-fashion rivalry of love, rather than a small trade rivalry. Lucetta wonders what he has heard, but he assures her that the situation is not all that bad. Lucetta says she wishes he would seriously consider her plan of moving elsewhere.

Farfrae and Lucetta are discussing this plan when the current mayor, a Mr. Vatt, arrives at their house. He shares the news of the previous mayor Chalkfield’s death. Mr. Vatt offers Farfrae the mayorship, and Farfrae accepts, despite Lucetta’s reminder that they were discussing moving away.

Lucetta is very troubled from that evening onward. Imprudently, she asks Henchard when she next encounters him about the parcel of love letters she had sent him and then asked him to return to her. He recalls packing them up and then not seeing her on the coach through Casterbridge. Lucetta says she was prevented from arriving at that time by the death of her wealthy aunt and wishes to have the letters returned to her.

Henchard later realizes that the letters are most likely still in a safe in his old home. Henchard is already furious about his mistaken information about Farfrae’s willful end to the plan to give him the seed shop when he learns that Farfrae has been elected to the mayorship. The next day, he asks Farfrae about a package of letters left in the safe, which Farfrae says he has not opened.

Henchard calls the next evening to pick up the papers from the safe. He inquires after Lucetta and learns she is already in bed. Henchard asks Farfrae if he remembers the woman who had once been interested in Henchard, but whom he could not marry after Susan returned. Henchard indicates that the letters are from this woman and reads some of the writing aloud. Farfrae asks what has become of the woman, and Henchard says she has married well. Henchard had intended to read the name at the end of the letters aloud and so reveal the truth that way, but in the moment, he finds he cannot hurt both Farfrae and Lucetta in cold blood.

"Such a wrecking of hearts appalled even him. His quality was such that he could have annihilated them both in the heat of action; but to accomplish the deed by oral poison was beyond the nerve of his enmity."

A Little More . . .

Farfrae is unable to believe that Henchard would hurt him. This is a moment of dramatic irony because the reader is aware of the extent of Henchard’s hatred. Farfrae doesn’t believe Elizabeth, showing him to be blinded by his goodwill towards all.

Upon reflection, Farfrae realizes that the warning has weight because it comes from Elizabeth; but it takes confirmation from another character for Farfrae to admit Henchard’s hatred to himself. As a popular person, the concept of being hated is foreign to Farfrae and difficult for him to believe or understand.

Gossip is harmful in this scene. Farfrae’s decision reaches Henchard as a willful act of harm against him. Although gossip has been used throughout this novel, it has never warped the truth of a situation as it does here.

Farfrae prioritizes his social position in Casterbridge over Lucetta’s wish to move away. Although he doesn’t understand Lucetta’s reasons, he is still surprisingly ready to ignore her wishes in the face of this offer. Farfrae comes very close to discerning the truth when he observes that Henchard’s actions resemble the dramatic behavior of an “old-fashioned” love rival.

Lucetta's conversation with Henchard is imprudent because he had forgotten about the letters she sent him, which are evidence of their history. Henchard has demonstrated his desire to control her and to seek revenge for her marriage to Farfrae, and she has reminded him of the ammunition to use if he wants to hurt her. Ironically, the letters are in Lucetta’s possession, left in the house where she and Farfrae now live

The fact that Henchard can’t bring himself to expose Lucetta’s name demostrates a key aspect of Henchard’s personality: despite his anger, his willingness to blame others, and his long-held grudges, he is not cold-hearted. To scheme and to prepare Farfrae and Lucetta’s destruction is something he cannot do. If he were angry in the moment, he may have revealed the secret. If the secret had been revealed, the course of the novel would have been dramatically changed. The scene is tense for the reader who observes Henchard teetering on the edge of telling the secret. But ultimately, while terribly flawed, Henchard is not a bad person.

Okay, that's all from me today, now over to all of you!

That was much from you Bridget!

This chapter was dense and tense, for all the reasons you mentioned.

That scene was interesting in terms of narrative: those letters enhanced the threat upon Lucetta's reputation at the very moment when she, as a mayor's wife, is about to come increasingly under the scrutiny of the entire population.

As you mentioned, Bridget, the letters had been there all the time and now, in Henchard's hands, they are on the loose and likely to resurfacing.

Wow! Such a lot in this chapter. Thank you so much, Bridget, for your terrific review of what has happened and how close Henchard came to blowing up a marriage. But it really feels like a slowly growing disaster between Henchard and Farfrae.

I wish Farfrae would sit down and talk to Henchard as indeed a friend, admit that life has turned their lives upside down and seeing if the two men can come to an agreement between the two of them — not having Farfrae dabbling out favors to Henchard but actually letting Henchard have a part in deciding his future with the support of "his old friend," as Farfrae continues to say he is.

Yes, thank you Bridget for the excellent analysis of this chapter. Henchard may have a soft heart. I've known people like this who are full of bluster when they feel wronged, and act from a maybe misguided idea of how to protect themselves, but they don't really have any desire to do harm. We're anxious to see which path Henchard ultimately takes!

It feels like Henchard is playing a "cat toying with a mouse" when he knows that Lucetta will overhear him reading the letters. While he did not give Farfrae the letter writer's name, he is purposely making Lucetta anxious and stressed with his psychological game. Lucetta will be in a constant state of anxiety since she doesn't know what his next move will be.

Gosh the tension is building, and like everyone I fear for Farfrae. Bridget - I love your observations - particularly noting that tiny "even". Why is Farfrae so naive, I wonder. He seems a true innocent, but a little blinkered too in assuming he could do his former friend a good deed so close to home.

Thomas Hardy is absolutely clear in ch. 33, when Farfrae enters the barn with Lucetta:

"it being obvious that he had no suspicion whatever in any antecedents in common between her and the now journeyman hay-trusser"

and I liked the succinct description of Lucetta in ch. 34 as "imprudence incarnate" when asking for her letters back. This seems uncharacteristically naive for her. But the way Henchard held back from his final planned cruelty I found exactly right. He always seems to be tempted to go against his moral code in various ways, but can't quite bring himself to do it in the end.

Pamela wrote: "I wish Farfrae would sit down and talk to Henchard as indeed a friend, admit that life has turned their lives upside down and seeing if the two men can come to an agreement between the two of them — not having Farfrae dabbling out favors to Henchard but actually letting Henchard have a part in deciding his future with the support of "his old friend," as Farfrae continues to say he is...."

I agree with you. I get that Farfrae doesn't want to mention the shop to Henchard since he apparently requires funding from the Council and wants to make sure that is going to come through before he gets Henchard's hopes up. However, when they were sitting at Farfrae's table, it would have been a perfect opportunity to have that frank conversation. When Donald discussed it with the town clerk, the man said he didn't see a problem with the other fifty pounds being donated by the council. They only shelved the idea because of Henchard's enmity, not lack of funding. That moment of privacy and seeming amity would have been a good time for Donald to propose the idea to Henchard and ask him how he felt about it, or raise the rumors he has heard about Henchard's hatred of him and ask to discuss it. Farfrae had seemed to be really bothered by the situation when informing Lucetta of what he had heard, but face-to-face with the man, he is merely "willing to humour Henchard, though quite uninterested, and bursting with yawns" (188). This is the first private moment he has had with Michael since hearing of the other man's hatred of him--something that Farfrae was completely blindsided by and which seemed to trouble him greatly. And all he can do with this opportunity to clear the air and try to repair the relationship is yawn? Seriously?

I've been out of town for the past fortnight and unable to comment. I've missed the discussion of this book. There's such a number of nuances and levels. This story can go in many directions.

Cindy, I agree. I also thought that Farfrae missed an opportunity to have an open discussion with Henchard about all things standing between them.
Henchard is his own worst enemy. He thinks that he's unwanted, unloved, unneeded, etc and these thoughts make him mean and vindictive.
As Jean stated, his moral code stops him from taking the final hurtful steps to hurt people. This makes him, I think, possibly a kind and gentle man in need of understanding.

We don't know him before the night he sold Susan. Perhaps that transaction gave him his feelings of being unwanted and an outcast and shaped his future.

(sorry if this has all been discussed already. I haven't looked through the comments yet)

Petra wrote: "I've been out of town for the past fortnight and unable to comment. I've missed the discussion of this book. There's such a number of nuances and levels. This story can go in many directions.

Cin..."

Welcome back Petra! Your comments were great, not repetitive, and it's nice to see you posting again. There are so many comments to read through (all of them excellent). Take your time reading them or just skip reading them and carry forward with us! I hope you had a nice time wherever you went.

It's true we don't know anything about Henchard before the day he sells Susan. We don't know why they married in the first place, or what their families were like. He does seem to have somewhat of a moral code, because he can't go through with revealing Lucetta's secret "in cold blood". But then as Connie points out, he must know Lucetta is listening, and it's cruel to make her think he will one day destroy her life.

The tension is not good for Lucetta, but it's making for a fascinating story to read ;-)