"Far From the Madding Crowd' portrays Bathsheba's caprice and wilfulness gradually crushed by bitter self-knowledge and rejection." How far do you agree with this statement?
At the beginning of the novel, Thomas Hardy portrays Bathsheba as a vain and superficial character. Her actions reveal her to be powerful and independent, which was not a typical characteristic of a woman of her time. These characteristics have given her a lot of confidence in her own abilities and she also seemed to expect all of the other characters (who were men) around her to oblige to her requests and demands unconditionally. This strong confidence and wilfulness allowed her to act on her impulses and achieve what she wanted with ease. However, she later realises that her beauty and physical appearance is not always what she needs to attain what she wants, such as a dutiful husband, and after a number of rejections from both Gabriel and Troy, she develops into a more mature and perhaps humbler character.
In the early part of the novel, Bathsheba is portrayed as capricious and in some occasions, reckless. Bathsheba intended to send a valentine to a little boy but in a split second of fancy and more than anything, chance, she decides to send the letter to Boldwood instead: "Let's toss, as men do" said Bathsheba idly.' Bathsheba was "idle" as she did this and obviously did not think this decision through. She's relying entirely on tossing a coin, in fate, an act of reckless caprice. ("Now then, head, Boldwood; tail Teddy.") Bathsheba's motives in sending the valentine also reveal another part of her character. Boldwood did not pay her any attention in the church which the other men there did, and Bathsheba, being established as vain, was a little piqued and annoyed by Boldwood's lack of interest in her. She then questions his behaviour to herself and to Liddy, her servant: "'What did he do?' Bathsheba said perforce. Didn't turn his head to look at you once all the service.' Why should he? ... I didn't ask him to.' Bathsheba dropped into silence intended to express that she had opinions on the matter." The fact that he did not look at her and this was bothering her emphasises several points made earlier in the novel about her vanity; she wanted his attention just like every other man gives her theirs (Liddy says "But everybody else were watching you."). And so she sends him the valentine. This again emphasises Bathsheba's wilfulness to get what she wants as well as her caprice and to an extent, vanity.
Bathsheba's reckless behaviour shown in this scene had caused a huge impact on Boldwood even though Bathsheba did not expect this to be such a big deal and is quite obviously unprepared for the consequences. This simple and seemingly trivial act of Bathsheba had affected the entire story significantly; it had caused Boldwood's entire character to change from a solid and wise man to a hopelessly obsessed and damaged character. This scene, among several others, also shows the reader that Thomas Hardy explores and expands on the idea of fate and how it can significantly change the outcome of a story or even a character.
Bathsheba sends the valentine to Boldwood with the seal "Marry Me" shown on the front. Again, she chooses this seal in random, without even thinking of what's written on it, emphasising on her impulsive and reckless tendencies. After seeing what is on the seal Bathsheba still decides to send the valentine, obviously not realising the impact and consequences her actions may have. Part of the reason why Bathsheba still sent the valentine after realising what's on the seal may be to do with her curiosity on how Boldwood would react to such a thing and the fact that she wants Boldwood to notice her.
Another scene that reflects on Bathsheba's capricious and impulsive nature is when she fires Gabriel without evident thought or consideration; she did what she felt like doing at that very moment. Gabriel tells Bathsheba his opinions on her actions and what he had to say wasn't what she neither expected nor wanted to be told. "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!". She fires Gabriel at that instant simply because she was mortified and shocked at Gabriel's honesty. It is also worth considering that it was her own curiosity which led Gabriel to tell her his opinions about the matter. ("Well, what is your opinion on my conduct?" said Bathsheba). She only wanted to hear positive and flattering comments about her, again showing the reader her vanity and her expectations of other men obliging to her demands. This part of Bathsheba's character, especially later in meeting Troy is what led her to fall in love with Troy rather than Gabriel who seemed like the more obvious and sensible choice; Troy satisfies her expectations of being constantly praised and flatter. Bathsheba later realises this flaw in character when she realises that Troy, the man who she was so infatuated by was nothing more than a handsome figure and it was Gabriel who really was there for her.
Bathsheba says "I cannot allow" in quite a forceful manner. Hardy uses punctuation (exclamation mark) to convey Bathsheba's emotions at the time; emotions of shock as well as annoyance. Hardy shows the way that Bathsheba is at a loss for words: "to- to" She stutters as if to show the reader just how frustrated she is that she cannot find words for what she feels perhaps it is too outrageous to say out loud. Bathsheba definitely does not react calmly or in the most rational way. She responds entirely on how she was made to feel right there and then, which again emphasises caprice. It also suggests immaturity at some level in her character, which we see develop later on in the novel.
Later on after this scene, Bathsheba faces an urgent dilemma in her farm when her sheep eats new clover and it impairs their health; immediate help is needed to save the sheep's' lives. The only man who is able to carry out the procedures to save the sheep is Gabriel and the other shepherds tell Bathsheba so. She however reacts violently to this suggestion and says: "How dare you name that man in my presence!" This reaction again shows the reader how she expects other men around her to follow her commands. The manner in which she says this line is very commanding. Hardy conveys some sort of anger that Bathsheba feels by using the phrase "How dare you!". This is a very common phrase that people say and its message of anger, frustration and shock is very clear. Bathsheba also says "I told you never to allude him" in the same imperious manner. Her violent and immediate reaction again reinforces her somewhat immature nature.
Instinctively, Bathsheba completely refused to ask for Gabriel's help even though she knows she has not any choice. This portrays Bathsheba as stubborn and again, immature. When Bathsheba finally lets this pride go and ask for Gabriel's help, she does not go to see him in person- her pride is too high. Instead she writes him a note with the words "Do not desert me, Gabriel!". This is an obvious example that shows Bathsheba's plea of desperation at this tragic time; she does need Gabriel, and even though she is hugely independent, Gabriel is an essential part of the farm. However, Bathsheba simply sys "Do not desert me" as opposed to "Please, help me" which is really what she implied and meant. She almost refuses to use the word "please" even though she is just short of begging. This reflects on her somewhat imperious and proud character. It also suggests, again, that she is used to the independence and control. She uses the word "desert" as if to suggest that Gabriel is supposed to be helping her as given obligation rather than an act of kindness, and neglecting her of this help is neglecting his responsibilities, which is clearly not the case: Bathsheba was the one who fired Gabriel.
Although Gabriel has supported Bathsheba in many aspects throughout the novel, Gabriel does at first reject Bathsheba in this scene. He refused to come to her aid immediately when she sent one of the shepherds for Gabriel and asks for her to see him in person. This is a subtle more subdued rejection that Bathsheba had encountered, but through this and Gabriel's honesty, she realises her shortcomings and the fact that she needs Gabriel and this certainly contributes to the development of her character.
Similarly in a later scene, Bathsheba tries to fire Gabriel a second time because he annoyed her by stating his opinions about Troy and her choice between him (Troy) and Boldwood. She does this almost instinctively; it seems like whenever she gets agitated by someone's, particularly Gabriel's behaviour, her immediate reaction is to get them out of her sight. This again shows us that Bathsheba is a capricious character. However, this scene also introduces us to the development of Bathsheba's character. She tells Gabriel to go almost pleadingly; she requests him to leave, rather than commands him to. This gives us an indication that Bathsheba is growing in character. Bathsheba says to Gabriel "Do not remain on this farm any longer. I don't want you I beg you to go!" She says this as a plea, a request rather than an order and in a completely different manner in contrast to the more demanding and superior way in which she did previously. She asks him to go or even "begs" him to go. The way in which she says "I don't want you" conveys a rather desperate sentiment from Bathsheba. She uses the word "want" rather than "need". This suggests that she realises that she does "need" Gabriel both in the farm (sheep-clover scene) and as a friend (his honesty helps her realise her mistakes; he also offers the support which her husband does not give her). Bathsheba has admitted her flaws to herself and seems to become less pretentious. Again this shows us further development and change in her character.
Bathsheba asks Gabriel instead to leave her alone, rather than insist upon her first proposal (firing Gabriel) as she would have if it were earlier in the novel. "I don't ask you as a mistress, I ask you as a woman." This emphasises my point that she is now "asking", as a woman would, rather than "ordering" as a mistress. Again this shows significant growth in her character from powerful to more vulnerable. A reformed Bathsheba begins to be revealed to the reader and from here this development grows into the novel.
A later chapter where both Gabriel and Bathsheba are out in the storm reveals a lot of these changes in Bathsheba's personality. As if by fate, Bathsheba comes across Gabriel during the storm as they both set out to cover the ricks protecting the harvest from the storm and harsh weather. Bathsheba had the initiative to tend to the crops and shows a great deal of independence, sense or responsibility and capability of doing such chores around the farm. This reinforces what we have already established Bathsheba to be- independent. (She inherited the farm but did not decide to sell it for a profit like what most conventional women of her time would have done. She also did not appoint the bailiff and she handled her own account which again, shows us a lot of independence on her part.) However, even as Hardy continues to portray Bathsheba as a powerful and independent person, there are many evident changes in her personality which makes her a more subdued and more conventional woman.
Gabriel has set out on the fields because, as we know, he feels a sense of responsibility for the farm and has the independent quality for this, much like Bathsheba herself. This suggests to the reader that somehow they will end in marriage because of their similar traits. Their likeness to each other also help them to work well together as runners of the farm; this is shown in physical evidence in this scene as they work together efficiently in protecting the crops. The fact that they are both responsible and independent is also perhaps the reason why they were both set out to do the same task, much like the idea of fate which Thomas Hardy often explores in his novels.
As Gabriel and Bathsheba work together, Troy is in the barn sleeping or drinking with the rest of the men. Troy did not have the initiative to tend to the crops, even though it is his job being the mistress' husband and Bathsheba has asked him to look after the task. Bathsheba notices this and seems to somehow realise this one consequence in marrying Troy. She says: "'He promised the stacks should be seen to, and now they are neglected!'" This shows, or more accurately reinforces on the reader through an actual evidence/situation (rather than mere suggestions) that Troy is no more than a charming character and a handsome man; He is just a physical beauty. It seems that as Bathsheba grows to become less superficial and occupied by physical traits, Troy stays the same and she realises how shallow her marriage with Troy is and will ever be. Bathsheba wonders out-loud where her husband is and says "They are all asleep in the barn, a drunken sleep, and my husband among them." The way in which I would imagine her saying "and my husband among them" conveys a regretful tone and sentiment; this shows us that she has realised her mistakes, and regrets them. She also seems to realise that Gabriel is worth a lot more and that her relationship/friendship with him and what it could be is far more meaningful and compatible.
Troy begins to become less and less involved with Bathsheba, his wife and it is now clear that the passionate relationship they had at the beginning of their marriage is now gone, and Bathsheba realises just how reckless her decision to marry Troy is and regrets it. Troy's later attention has been drawn to Fanny Robbins and it becomes clear that Troy is still in love with Fanny and Bathsheba develops some suspicions which are later in the novel confirmed. Gabriel however has been there for Bathsheba and shows himself to be a more considerate and reliable friend to Bathsheba. She realises this and she begins to open up to Gabriel about her worries and suspicions about Troy. Bathsheba has developed a deep friendship with Gabriel, and at her time this is quite unconventional (for a girl to be friends and nothing more with a man) and as the reader sees Bathsheba grow into a more conventional woman, the reader also begins to think that maybe Gabriel and Bathsheba will end up in marriage, especially as Troy continues to neglect Bathsheba.
Even as Bathsheba grows to become less occupied with what other people think of her, in this scene she proves that her friendship with Gabriel and his opinions still matter a great deal. Bathsheba begins to open up to Gabriel and tells him about the events that had happened between her and Troy in Bath, saying, "It would be dreadful that you should always think mistakenly of me." This suggests that Bathsheba does care about Gabriel's opinions, whether because he is a good and kind friend, or because he feels more for him. Her openness with Gabriel shows the reader a change from the clinical and aloof character, so independent that she doesn't seem to be fazed by any emotion (as Hardy portrayed Bathsheba as at the beginning of the novel when she refused Gabriel's marriage proposal), to a more vulnerable and not-so-in-control woman.
Bathsheba begins to recognise her mistakes and she shows that she is starting to learn more about her flaws and actions. She seems to have learned to be more thoughtful about her actions and their consequences rather than act on pure impulses. She shows this by admitting to Gabriel that she married Troy for the wrong intentions and by admitting that she realises her decision to be quite extreme and not thought through. She tells him: "And then, between jealousy and distraction; I married him!" This is another one of Bathsheba's capricious decisions and actions. It isn't only Bathsheba's caprice that is being shown/ emphasised here but also her vanity. He tells her that "he had that day seen a woman more beautiful than I, and that in his constancy could not be counted on unless I at once became his, and I grieved and troubled". The reason Bathsheba fell in love with Troy is that he gave her all the praises and compliments that she wanted and expected, being the vain character that she is. Upon hearing that Troy has found someone else she is distressed. She then does something completely irrational, like marrying Troy which again shows us caprice. However, in this scene she has now realised this mistake and Thomas Hardy conveys this change and learning on Bathsheba's part quite effectively; Bathsheba retells her story in dialogue and then shows regret. This shows actual evidence of the reformed Bathsheba in a situation where the reader can see the evident contrasts (between the "old" and "new" Bathsheba) side by side.
Bathsheba realises these flaws through many occasions where she is rejected by the other characters, such as Gabriel (when he refused to help her with the sheep the first time she asked) and particularly Troy, now that they are married.
A key chapter wherein this idea of rejection is portrayed is when Troy, upon the death of Fanny Robbins and their child, openly tells Bathsheba that she is not morally his wife. Not only is Bathsheba being rejected, but Troy chooses another woman, a dead woman over her. As Troy moves closer to the dead body of Fanny and kisses her, Bathsheba, in an impulse, reached out and stopped Troy from doing so: "There was something abnormal and startling in the child-like pain and simplicity of this appeal from a woman of Bathsheba's calibre and independence." Bathsheba seems to have collapsed upon being rejected and unwanted by Troy; she is no longer portrayed as independent or powerful and her strong characteristics have been crushed upon knowing what Troy truly feels (and it is only now that he shows his true emotions) and being second-best to another woman. Troy openly tells Bathsheba that she is nothing in comparison to Fanny Robbins: "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 married her." Troy harshly rejects Bathsheba in every aspect that rejection is possible. He emphasises the fact that Fanny is dead, but even though that is the case, that he would still love Fanny more than he ever did/will love her. This emotionally strikes Bathsheba quite severely; she was upset and jealous when Troy tells her that he had met someone else, but the effects of Troy's words this time would have been worse. Again, this reflects on the vanity of Bathsheba, even in the midst of all this. Troy also accuses Bathsheba of tempting him, which is ironic because throughout the novel he's the one who initiated flirting with Bathsheba (when he shows him his swords skills and then kissing her). Bathsheba is made to feel not only rejected but also responsible for Troy's crisis (that he had not married Fanny) and to an extent, Fanny's death. Hardy also uses "Satan" as a metaphor for Bathsheba alluring Troy; this emphasises Troy's accusation and hence makes Bathsheba feel more responsible, especially at her time where religion is very much a big part of people's lives and beliefs.
In the dialogue Troy also appeared to be very melodramatic, yet the most honest we had seen him. He says "I deserve to live in torment for this!" This suggests that to him what had happened and the fact that he is with Bathsheba, not Fanny is "torment". Exaggerated as this may seem, this is the most honest the reader and Bathsheba had ever seen Troy to be and for him to reveal his feelings so frankly to Bathsheba for the first time would have affected her unpleasantly.
During this scene, Bathsheba's character and persona seems to collapse from the strong, willful and rather remote woman that's capable of anything to someone who reacts quite childishly to rejection and an irrational character. Later on however she seems to have grown from this momentary outburst to a more mature and thoughtful character.
After everything she had been through in the novel and especially, in the chapter where Troy rejects her, Bathsheba became a more subdued character. The reformed Bathsheba was able to overcome rejection (when Troy dies, she asks for his body be buried with Fanny Robbins- almost like a public declaration that she accepts Fanny to be his wife and shows that she has matured to overcome this and any other jealousy she may have had at the beginning of the novel) which the Bathsheba portrayed to reader earlier would not have done.
At the end of the novel Bathsheba hears about Gabriel emigrating, she then stops him and in doing so almost proposed a marriage to him. This portrays Bathsheba to be less proud and it shows us that she has matured enough to realise how much she needs Gabriel both in the farm and emotionally. This (Bathsheba's development and maturity) suggests that Bathsheba's marriage with Gabriel with be far more mature and less superficial and that of her marriage with Troy when she was younger and somewhat immature. Hardy may also be conveying a moral or message in the novel, perhaps that women have the tendency to fall for the wrong men/characters, which Bathsheba did in the story. Bathsheba has rejected Boldwood's proposal, perhaps with convincing reasons but he still seems to be a better and more worthy choice especially towards the end of the novel where Troy is portrayed to be inconsiderate and selfish. She also rejects Gabriel's proposal in the beginning of the novel and continues to take him for granted when he, Gabriel certainly seems to be the obvious choice. This idea of women's false perception in men and their repeated mistakes in romance is something that's happening and being conveyed in films, soap operas and novels today.
"Far From the Madding Crowd' portrays Bathsheba's caprice and willfulness gradually crushed by bitter self-knowledge and rejection." Bathsheba has changed from a capricious and willful character into a more subdued and wiser woman and this change had been brought about by occasions wherein she is rejected. However it wasn't an entirely "gradual" transformation; the biggest and final rejection she received from Troy was quite sudden, even though small gradual changes leads up to it; it was perhaps the "climax" of Bathsheba's development.
"Bitter" suggests that Bathsheba changes upon realising (such as knowing about Troy's love for Fanny) and holds resentment towards this. She doesn't; she asks for Troy to be buried with Fanny which tells us that she isn't holding a feeling of resentment against Fanny or Troy and she accepts what she had learned (which perhaps she wouldn't earlier in the novel).
However, even as Bathsheba is reformed character, she still keeps one characteristic which Thomas Hardy had established in the introduction of the novel: vanity. In the scene where Troy declares his love for Fanny, she reacts particularly to the way Troy had said that Fanny is worth much more than she is. She reacted in the same affected way when he says he had met someone else in Bath, when Gabriel says that he is no longer in love with her and when Boldwood ignores her in the church. All these situations suggest vanity and she has kept this all throughout the novel, but perhaps her reformed character will portray this vanity in a more subdued way.