'The Fiddler of the Reels' by Thomas Hardy
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"Talking of Exhibitions, World's Fairs, and what not," said the old gentleman, "I would not go round the corner to see a dozen of them nowadays. The only exhibition that ever made, or ever will make, any impression upon my imagination was the first of the series, the parent of them all, and now a thing of old times—the Great Exhibition of 1851, in Hyde Park, London. None of the younger generation can realize the sense of novelty it produced in us who were then in our prime. A noun substantive went so far as to become an adjective in honor of the occasion. It was "exhibition" hat, "exhibition" razor-strop, "exhibition" watch; nay, even "exhibition" weather, "exhibition" spirits, sweethearts, babies, wives—for the time.
"For South Wessex, the year formed in many ways an extraordinary chronological frontier or transit line, at which there occurred what one might call a precipice in time. As in a geological "fault," we had presented to us a sudden bringing of ancient and modern into absolute contact, such as probably in no other single year since the Conquest was ever witnessed in this part of the country."
These observations led us onward to talk of the different personages, gentle and simple, who lived and moved within our narrow and peaceful horizon at that time; and of three people in particular, whose queer little history was oddly touched at points by the Exhibition, more concerned with it than that of anybody else who dwelt in those outlying shades of the world, Stickleford, Mellstock, and Egdon. First prominence among these three came Wat Ollamoor—if that were his real name—whom the seniors in our party had known well.
He was a woman's man, they said,—supremely so—externally little else. To men he was not attractive; perhaps a little repulsive at times. Musician, dandy, and company-man in practice; veterinary surgeon in theory, he lodged awhile in Mellstock village, coming from nobody knew where; though some said his first appearance in this neighborhood had been as fiddle-player in a show at Greenhill Fair. Many a worthy villager envied him his power over unsophisticated maidenhood power which seemed sometimes to have a touch of the weird and wizardly in it. Personally he was not ill-favored, though rather un-English, his complexion being a rich olive, his rank hair dark and rather clammy—made still clammier by secret ointments, which, when he came fresh to a party, caused him to smell like "boys'-love"(southern-wood) steeped in lamp-oil. On occasion he wore curls—a double row—running almost horizontally around his head. But as these were sometimes noticeably absent, it was concluded that they were not altogether of Nature's making. By girls whose love for him had turned to hatred he had been nicknamed "Mop," from this abundance of hair, which was long enough to rest upon his shoulders; as time passed the name more and more prevailed.
His fiddling possibly had the most to do with the fascination he exercised, for, to speak fairly, it could claim for itself a most peculiar and personal quality, like that in a moving preacher. There were tones in it which bred the immediate conviction that indolence and averseness to systematic application were all that lay between "Mop" and the career of a second Paganini.
While playing he invariably closed his eyes; using no notes, and, as it were, allowing the violin to wander on at will into the most plaintive passages ever heard by rustic man. There was a certain lingual character in the supplicatory expressions he produced, which would well-nigh have drawn an ache from the heart of a gatepost. He could make any child in the parish, who was at all sensitive to music, burst into tears in a few minutes by simply fiddling one of the old dance-tunes he almost entirely affected—country jigs, reels, and "Favorite Quick Steps" of the last century—some mutilated remains of which even now reappear as nameless phantoms in new quadrilles and gallops, where they are recognized only by the curious, or by such old-fashioned and far—between people as have been thrown with men like Wat Ollamoor in their early life.
His date was a little later than that of the old Mellstock quire-band which comprised the Dewys, Mail, and the rest—in fact, he did not rise above the horizon thereabout till those well-known musicians were disbanded as ecclesiastical functionaries. In their honest love of thoroughness they despised the new man's style. Theophilus Dewy (Reuben the tranter's younger brother) used to say there was no "plumness" in it—no bowing, no solidity—it was all fantastical. And probably this was true. Anyhow, Mop had, very obviously, never bowed a note of church-music from his birth; he never once sat in the gallery of Mellstock church where the others had tuned their venerable psalmody so many hundreds of times; had never, in all likelihood, entered a church at all. All were devil's tunes in his repertory. "He could no more play the Wold Hundredth to his true time than he could play the brazen serpent," the tranter would say. (The brazen serpent was supposed in Mellstock to be a musical instrument particularly hard to blow.)
Occasionally Mop could produce the aforesaid moving effect upon the souls of grown-up persons, especially young women of fragile and responsive organization. Such an one was Car'line Aspent. Though she was already engaged to be married before she met him, Car'line, of them all, was the most influenced by Mop Ollamoor's heart-stealing melodies, to her discomfort, nay, positive pain and ultimate injury. She was a pretty, invocating, weak-mouthed girl, whose chief defect as a companion with her sex was a tendency to peevishness now and then. At this time she was not a resident in Mellstock parish where Mop lodged, but lived some miles off at Stickleford, further down the river.
How and where she first made acquaintance with him and his fiddling is not truly known, but the story was that it either began or was developed on one spring evening, when, in passing through Lower Mellstock, she chanced to pause on the bridge near his house to rest herself, and languidly leaned over the parapet. Mop was standing on his door-step, as was his custom, spinning the insidious thread of semi- and demi-semiquavers from the E string of his fiddle for the benefit of passersby, and laughing as the tears rolled down the cheeks of the little children hanging around him. Car'line pretended to be engrossed with the rippling of the stream under the arches, but in reality she was listening, as he knew. Presently the aching of the heart seized her simultaneously with a wild desire to glide airily in the mazes of an infinite dance. To shake off the fascination she resolved to goon, although it would be necessary to pass him as he played. On stealthily glancing ahead at the performer, she found to her relief that his eyes were closed in abandonment to instrumentation, and she strode on boldly. But when closer her step grew timid, her head convulsed itself more and more accordantly with the time of the melody, till she very nearly danced along. Gaining another glance at him when immediately opposite, she saw that one of his eyes was open, quizzing her as he smiled at her emotional state. Her gait could not divest itself of its compelled capers till she had gone a long way past the house; and Car'line was unable to shake off the strange infatuation for hours.
After that day, whenever there was to be in the neighborhood a dance to which she could get an invitation, and where Mop Ollamoor was to be the musician, Car'line contrived to be present, though it sometimes involved a walk of several miles; for he did not play so often in Stickleford as elsewhere.
The next evidences of his influence over her were singular enough, and it would require a neurologist to fully explain them. She would be sitting quietly, any evening after dark, in the house of her father, the parish clerk, which stood in the middle of Stickleford village street, this being the highroad between Lower Mellstock and Moreford, five miles eastward. Here, without a moment's warning, and in the midst of a general conversation between her father, sister, and the young man before alluded to, who devotedly wooed her in ignorance of her infatuation, she would start from her seat in the chimney corner as if she had received a galvanic shock, and spring convulsively toward the ceiling; then she would burst into tears, and it was not till some half-hour had passed that she grew calm as usual. Her father, knowing her hysterical tendencies, was always excessively anxious about this trait in his youngest girl, and feared the attack to be a species of epileptic fit. Not so her sister Julia. Julia had found out what was the cause. At the moment before the jumping, only an exceptionally sensitive ear situated in the chimney-nook could have caught down the flue the beat of a man's footstep along the highway without. But it was in that footfall, for which she had been waiting, that the origin of Car'line's involuntary springing lay. The pedestrian was Mop Ollamoor, as the girl well knew; but his business that way was not to visit her; he sought another woman whom he spoke of as his Intended, and who lived at Moreford, two miles further on. On one, and only one, occasion did it happen that Car'line could not control her utterance; it was when her sister alone chanced to be present. "O—O—O—!" she cried. "He's going to her, and not coming to me!"
To do the fiddler justice he had not at first thought greatly of, or spoken much to, this girl of impressionable mold. But he had soon found out her secret, and could not resist a little by-play with her too easily hurt heart, as an interlude between his more serious love makings at Moreford. The two became well acquainted, though only by stealth, hardly a soul in Stickleford except her sister, and her lover Ned Hipcroft, being aware of the attachment. Her father disapproved of her coldness to Ned; her sister, too, hoped she might get over this nervous passion for a man of whom so little was known. The ultimate result was that Car'line's manly and simple wooer Edward found his suit becoming practically hopeless. He was a respectable mechanic, in a far sounder position than Mop the nominal horse-doctor; but when, before leaving her, Ned put his flat and final question, would she marry him, then and there, now or never, it was with little expectation of obtaining more than the negative she gave him. Though her father supported him and her sister supported him, he could not play the fiddle so as to draw your soul out of your body like a spider's thread, as Mop did, till you felt as limp as withy wind and yearned for something to cling to. Indeed, Hipcroft had not the slightest ear for music; could not sing two notes in tune, much less play them.
The No he had expected and got from her, in spite of a preliminary encouragement, gave Ned a new start in life. It had been uttered in such atone of sad entreaty that he resolved to persecute her no more; she should not even be distressed by a sight of his form in the distant perspective of the street and lane. He left the place, and his natural course was to London.
The railway to South Wessex was in process of construction, but it was not as yet opened for traffic; and Hipcroft reached the capital by a six days' trudge on foot, as many a better man had done before him. He was one of the last of the artisan class who used that now extinct method of travel to the great centers of labor, so customary then from time immemorial.
In London he lived and worked regularly at his trade. More fortunate than many, his disinterested willingness recommended him from the first. During the ensuing four years he was never out of employment. He neither advanced nor receded in the modern sense; he improved as a workman, but he did not shift one jot in social position. About his love for Car'line he maintained a rigid silence. No doubt he often thought of her; but being always occupied, and having no relations at Stickleford, he held no communication with that part of the country, and showed no desire to return. In his quiet lodging in Lambeth he moved about after working-hours with the facility of a woman, doing his own cooking, attending to his stocking-heels, and shaping himself by degrees to a life-long bachelorhood. For this conduct one is bound to advance the canonical reason that time could not efface from his heart the image of little Car'line Aspent—and it maybe in part true; but there was also the inference that his was a nature not greatly dependent upon the ministrations of the other sex for its comforts.
The fourth year of his residence as a mechanic in London was the year of the Hyde-Park Exhibition already mentioned, and at the construction of this huge glasshouse, then unexampled in the world's history, he worked daily. It was an era of great hope and activity among the nations and industries. Though Hipcroft was, in his small way, a central man in the movement, he plodded on with his usual outward placidity. Yet for him, too, the year was destined to have its surprises, for when the bustle of getting the building ready for the opening day was past, the ceremonies had been witnessed, and people were flocking thither from all parts of the globe, he received a letter from Car'line. Till that day the silence of four years between himself and Stickleford had never been broken.
She informed her old lover, in an uncertain penmanship, which suggested a trembling hand, of the trouble she had been put to in ascertaining his address, and then broached the subject which had prompted her to write. Four years ago, she said with the greatest delicacy of which she was capable, she had been so foolish as to refuse him. Her willful wrong headedness had since been a grief to her many times, and of late particularly. As for Mr. Ollamoor, he had been absent almost as long as Ned—she did not know where. She would gladly marry Ned now if he were to ask her again, and be a tender little wife to him till her life's end.
A tide of warm feeling must have surged through Ned Hipcroft's frame on receipt of this news, if we may judge by the issue. Unquestionably he loved her still, even if not to the exclusion of every other happiness. This from his Car'line, she who had seen dead to him these many years, alive to him again as of old, was in itself a pleasant, gratifying thing. Ned had grown so resigned to, or satisfied with, his lonely lot, that he probably would not have shown much jubilation at anything. Still, a certain ardor of preoccupation, after his first surprise, revealed how deeply her confession of faith in him had stirred him. Measured and methodical in his ways, he did not answer the letter that day, nor the next, nor the next. He was having "a good ink." When he did answer it, there was a great deal of sound reasoning mixed in with the unmistakable tenderness of his reply; but the tenderness itself was sufficient to reveal that he was pleased with her straight forward frankness; that the anchorage she had once obtained in his heart was renewable, if it had not been continuously firm.
He told her—and as he wrote his lips twitched humorously over the few gentle words of raillery he indited among the rest of his sentences—that it was all very well for her to come round at this time of day. Why wouldn't she have him when he wanted her? She had no doubt learned that he was not married, but suppose his affections had since been fixed on another? She ought to beg his pardon. Still, he was not the man to forget her. But considering how he had been used, and what he had suffered, she could not quite expect him to go down to Stickleford and fetch her. But if she would come to him, and say she was sorry, as was only fair; why, yes, he would marry her, knowing what a good little woman she was at the core. He added that the request for her to come to him was a less one to make than it would have been when he first left Stickleford, or even a few months ago; for the new railway into South Wessex was now open, and there had just begun to be run wonderfully contrived special trains, called excursion-trains, on account of the Great Exhibition; so that she could come up easily alone.
She said in her reply how good it was of him to treat her so generously, after her hot and cold treatment of him; that though she felt frightened at the magnitude of the journey, and was never as yet in a railway-train, having only seen one pass at a distance, she embraced his offer with all her heart; and would, indeed, own to him how sorry she was, and beg his pardon, and try to be a good wife always, and make up for lost time.
The remaining details of when and where were soon settled, Car'line informing him, for her ready identification in the crowd, that she would be wearing "my new sprigged-layback cotton gown," and Ned gaily responding that, having married her the morning after her arrival, he would make a day of it by taking her to the Exhibition. One early summer afternoon, accordingly, he came from his place of work, and fastened toward Waterloo Station to meet her. It was as wet and chilly as an English June day can occasionally be, but as he waited on the platform in the drizzle he glowed inwardly, and seemed to have something to live for again.
The "excursion-train"—an absolutely new departure in the history of travel—was still a novelty on the Wessex line, and probably everywhere. Crowds of people had flocked to all the stations on the way up to witness the unwonted sight of so long a train's passage, even where they did not take advantage of the opportunity it offered. The seats for the humbler class of travelers in these early experiments in steam-locomotion, were open trucks, without any protection whatever from the wind and rain; and damp weather having set in with the afternoon, the unfortunate occupants of these vehicles were, on the train drawing up at the London terminus, found to be in a pitiable condition from their long journey; blue-faced, stiff-necked, sneezing, rain-beaten, chilled to the marrow, many of the men being hatless; in fact, they resembled people who had been out all night in an open boat on a rough sea, rather than inland excursionists for pleasure. The women had in some degree protected themselves by turning up the skirts of their gowns over their heads, but as by this arrangement they were additionally exposed about the hips, they were all more or less in a sorry plight.
In the bustle and crush of alighting forms of both sexes which followed the entry of the huge concatenation into the station, Ned Hipcroft soon discerned the slim little figure his eye was in search of, in the sprigged lilac, as described. She came up to him with a frightened smile—still pretty, though so damp, weather-beaten, and shivering from long exposure to the wind.
"O, Ned! " she sputtered, "I—I—" He clasped her in his arms and kissed her, whereupon she burst into a flood of tears.
"You are wet, my poor dear! I hope you'll not get cold," he said. And surveying her and her multifarious surrounding packages, he noticed that by the hand she led a toddling child—a little girl of three or so—whose hood was as clammy and tender face as blue as those of the other travelers.
"Who is this—somebody you know?" asked Ned curiously.
"Yes, Ned. She's mine."
"Yours?"
"Yes—my own."
"Your own child?"
"Yes!"
"But who's the father?"
"The young man I had after you courted me."
"Well—as God's in—"
"Ned, I didn't name it in my letter, because, you see, it would have been so hard to explain! I thought that when we met I could tell you how she happened to be born, so much better than in writing! I hope you'll excuse it this once, dear Ned, and scold me, now I've come so many, many miles!"
"This means Mr. Mop Ollamoor, I reckon!" said Hipcroft, gazing palely at them from the distance of the yard or two to which he had withdrawn with a start.
Car'line gasped. "But he's been gone away for years!" she supplicated. "And I never had a young man before! And I was so onlucky to be catched the first time he took advantage o' me, though some of the girls down there go on like anything!"
Ned remained in silence, pondering.
"You'll forgive me, dear Ned?" she added, beginning to sob outright. "I haven't taken 'ee in after all, because—because you can pack us back again, if you want to; though 'tis hundreds o' miles, and so wet, and night a-coming on, and I with no money!
"What the devil can I do!" Hipcroft groaned.
A more pitiable picture than the pair of helpless creatures presented was never seen on a rainy day, as they stood on the great, gaunt, puddled platform, a whiff of drizzle blowing under the roof upon them now and then; the pretty attire in which they had started from Stickleford in the early morning bemuddled and sodden, weariness on their faces, and fear of him in their eyes; for the child began to look as if she thought she too had done some wrong, remaining in an appalled silence till the tears rolled down her chubby cheeks.
"What's the matter, my little maid?" said Ned mechanically.
"I do want to go home!" she let out, in tones that told of a bursting heart. "And my totties be cold, an' I shan't have no bread an' butter no more!"
"I don't know what to say to it all!" declared Ned, his own eye moist as he turned and walked a few steps with his head down; then regarded them again point-blank. From the child escaped troubled breaths and silently welling tears.
"Want some bread and butter, do 'ee?" he said, with factitious hardness.
"Ye—e—s!"
"Well, I dare say I can get 'ee a bit! Naturally, you must want some. And you, too, for that matter, Car'line."
"I do feel a little hungered. But I can keep it off," she murmured.
"Folk shouldn't do that," he said gruffly. . . . "There, come along!" He caught up the child, as he added, "You must bide here tonight, anyhow, I s'pose! What can you do otherwise? I'll get 'ee some tea and victuals; and as for this job, I'm sure I don't know what to say! This is the way out."
They pursued their way, without speaking, to Ned's lodgings, which were not far off. There he dried them and made them comfortable, and prepared tea; they thankfully sat down. The ready-made household of which he suddenly found himself the head imparted a cosy aspect to his room, and a paternal one to himself. Presently he turned to the child and kissed her now blooming cheeks; and, looking wistfully at Car'line, kissed her also.
"I don't see how I can send you back all them miles," he growled, "now you've come all the way o' purpose to join me. But you must trust me, Car'line, and show you've real faith in me, Well, do you feel better now, my little woman?"
The child nodded beamingly, her mouth being otherwise occupied.
"I did trust you, Ned, in coming; and I shall always!"
Thus, without any definite agreement to forgive her, he tacitly acquiesced in the fate that Heaven had sent him; and on the day of their marriage (which was not quite so soon as he had expected it could be, on account of the time necessary for banns) he took her to the Exhibition when they came back from church, as he had promised. While standing near a large mirror in one of the courts devoted to furniture, Car'line started, for in the glass appeared the reflection of a form exactly resembling Mop Ollamoor's—so exactly, that it seemed impossible to believe anybody but that artist in person to be the original. On passing round the objects which hemmed in Ned, her, and the child from a direct view, no Mop was to be seen. Whether he were really in London or not at that time was never known; and Car'line always stoutly denied that her readiness to go and meet Ned in town arose from any rumor that Mop had also gone thither; which denial there was no reasonable ground for doubting.
And then the year glided away, and the Exhibition folded itself up and became a thing of the past. The park trees that had been enclosed for six months were again exposed to the winds and storms, and the sod grew green anew. Ned found that Car'line resolved herself into a very good wife and companion, though she had made herself what is called cheap to him; but in that she was like another domestic article, a cheap tea-pot, which often brews better tea than a dear one. One autumn Hipcroft found himself with but little work to do, and a prospect of less for the winter. Both being country born and bred, they fancied they would like to live again in their natural atmosphere. It was accordingly decided between them that they should leave the pent-up London lodging, and that Ned should seek out employment near his native place, his wife and her daughter staying with Car'line's father during the search for occupation and an abode of their own.
Tinglings of pride pervaded Car'line's spasmodic little frame as she journeyed down with Ned to the place she had left two or three years before, in silence and under a cloud. To return to where she had once been despised, a smiling London wife with a distinct London accent, was a triumph which the world did not witness every day.
The train did not stop at the petty roadside station that lay nearest to Stickleford, and the trio went on to Casterbridge. Ned thought it a good opportunity to make a few preliminary inquiries for employment at workshops in the borough where he had been known; and feeling cold from her journey, and it being dry underfoot and only dusk as yet, with a moon on the point of rising, Car'line and her little girl walked on toward Stickleford, leaving Ned to follow at a quicker pace, and pick her up at a certain halfway house, widely known as an inn.
"The woman and child pursued the well-remembered way comfortably enough, though they were both becoming wearied. In the course of three miles they had passed Heedless-William's Pond, the familiar landmark by Bloom's End, and were drawing near the Quiet Woman, a lone roadside hostel on the lower verge of the Egdon Heath, since and for many years abolished. In stepping up toward it Car'line heard more voices within than had formerly been customary at such an hour, and she learned that an auction of fat stock had been held near the spot that afternoon. The child would be the better for a rest as well as herself, she thought, and she entered.
The guests and customers overflowed into the passage, and Car'line had no sooner crossed the threshold than a man whom she remembered by sight came forward with a glass and mug in his hands toward a friend leaning against the wall; but, seeing her, very gallantly offered her a drink of the liquor, which was gin-and-beer hot, pouring her out a tumblerful and saying, in a moment or two: "Surely, 'tis little Car'line Aspent that was down at Stickleford?"
She assented, and, though she did not exactly want this beverage, she drank it since it was offered, and her entertainer begged her to come in further and sit down. Once within the room she found that all the persons present were seated close against the walls, and there being a chair vacant she did the same. An explanation of their position occurred the next moment. In the opposite corner stood Mop, rosining his bow and looking just the same as ever. The company had cleared the middle of the room for dancing, and they were about to dance again. As she wore a veil to keep off the wind she did not think he had recognized her, or could possibly guess the identity of the child; and to her satisfied surprise she found that she could confront him quite calmly—mistress of herself in the dignity her London life had given her. Before she had quite emptied her glass the dance was called, the dancers formed in two lines, the music sounded, and the figure began.
Then matters changed for Car'line. A tremor quickened itself to life in her, and her hand so shook that she could hardly set down her glass. It was not the dance nor the dancers, but the notes of that old violin which thrilled the London wife, these having still all the witchery that she had so well known of yore, and under which she had used to lose her power of independent will. How it all came back! There was the fiddling figure against the wall; the large, oily, mop-like head of him, and beneath the mop the face with closed eyes.
After the first moments of paralyzed reverie the familiar tune in the familiar rendering made her laugh and shed tears simultaneously. Then a man at the bottom of the dance, whose partner had dropped away, stretched out his hand and beckoned to her to take the place. She did not want to dance; she entreated by signs to be left where she was, but she was entreating of the tune and its player rather than of the dancing man. The salutatory tendency which the fiddler and his cunning instrument had ever been able to start in her was seizing Car'line just as it had done in earlier years, possibly assisted by the gin-and-beer hot. Tired as she was she grasped her little girl by the hand, and plunging in at the bottom of the figure, whirled about with the rest. She found that her companions were mostly people of the neighboring hamlets and farms—Bloom's End, Mellstock, Lewgate, and elsewhere; and by degrees she was recognized as she convulsively danced on, wishing that Mop would cease and let her heart rest from the aching he caused, and her feet also.
After long and many minutes the dance ended, when she was urged to fortify herself with more gin-and-beer; which she did, feeling very weak and overpowered with hysteric emotion. She refrained from unveiling, to keep Mop in ignorance of her presence, if possible. Several of the guests having left, Car'line hastily wiped her lips and also turned to go; but, according to the account of some who remained, at that very moment a five-handed reel was proposed, in which two or three begged her to join.
She declined on the plea of being tired and having to walk to Stickleford, when Mop began aggressively tweedling "My Fancy-Lad," in D major, as the air to which the reel was to be footed. He must have recognized her, though she did not know it, for it was the strain of all seductive strains which she was least able to resist—the one he had played when she was leaning over the bridge at the date of their first acquaintance. Car'line stepped despairingly into the middle of the room with the other four.
Reels were resorted to hereabouts at this time by the more robust spirits, for the reduction of superfluous energy which the ordinary figure-dances were not powerful enough to exhaust. As everybody knows, or does not know, the five reelers stood in the form of a cross, the reel being performed by each line of three alternately, the persons who successively came to the middle place dancing in both directions. Car'line soon found herself in this place, the axis of the whole performance, and could not get out of it, the tune turning into the first part without giving her opportunity. And now she began to suspect that Mop did know her, and was doing this on purpose, though whenever she stole a glance at him his closed eyes betokened obliviousness to everything outside his own brain. She continued to wend her way through the figure of eight that was formed by her course, the fiddler introducing into his notes the wild and agonizing sweetness of a living voice in one too highly wrought; its pathos running high and running low in endless variation, projecting through her nerves excruciating spasms, a sort of blissful torture. The room swam, the tune was endless; and in about a quarter of an hour the only other woman in the figure dropped out exhausted, and sank panting on a bench.
The reel instantly resolved itself into a four-handed one. Car'line would have given anything to leave off; but she had, or fancied she had, no power, while Mop played such tunes; and thus another ten minutes slipped by, a haze of dust now clouding the candles, the floor being of stone, sanded. Then another dancer fell out—one of the men—and went into the passage in a frantic search for liquor. To turn the figure into a three-handed reel was the work of a second, Mop modulating at the same time into "The Fairy Dance," as better suited to the contracted movement, and no less one of those foods of love which, as manufactured by his bow, had always intoxicated her.
In a reel for three there was no rest whatever, and four or five minutes were enough to make her remaining two partners, now thoroughly blown, stamp their last bar, and, like their predecessors, limp off into the next room to get something to drink. Car'line, half-stifled inside her veil, was left dancing alone, the apartment now being empty of everybody save herself, Mop, and their little girl.
She flung up the veil, and cast her eyes upon him, as if imploring him to withdraw himself and his acoustic magnetism from the atmosphere. Mop opened one of his own orbs, as though for the first time, fixed it peeringly upon her, and smiling dreamily, threw into his strains the reserve of expression which he could not afford to waste on a big and noisy dance. Crowds of little chromatic subtleties, capable drawing tears from a statue, proceeded straightway from the ancient fiddle, as if it were dying of the emotion which had been pent up within it ever since its banishment from some Italian or German city where it first took shape and sound. There was that in the look of Mop's one dark eye which said: "You cannot leave off, dear, whether you would or no!" and it bred in her a paroxysm of desperation that defied him to tire her down.
She thus continued to dance alone, defiantly as she thought, but in truth slavishly and abjectly, subject to every wave of the melody, and probed by the gimlet-like gaze of her fascinator's open eye; keeping up at the same time a feeble smile in his face, as feint to signify it was still her own pleasure which led her on. A terrified embarrassment as to what she could say to him if she were to leave off, had its unrecognized share in keeping her going. The child, who was beginning to be distressed by the strange situation, came up and whimpered: "Stop, mother, stop, and let's go home!" as she seized Car'line's hand.
Suddenly Car'line sank staggering to the floor, and rolling over on her face, prone she remained. Mop's fiddle thereupon emitted an elfin shriek of finality; stepping quickly down from the nine-gallon beer-cask which had formed his rostrum, he went to the little girl, who disconsolately bent over her mother.
The guests who had gone into the backroom for liquor and change of air, hearing something unusual, trooped back hitherward, where they endeavored to revive poor, weak Car'line by blowing her with the bellows and opening the window. Ned, her husband, who had been detained in Casterbridge, as aforesaid, came along the road at this juncture, and hearing excited voices through the open casement, and to his great surprise, the mention of his wife's name, he entered amid the rest upon the scene. Car'line was now in convulsions, weeping violently, and for a long time nothing could be done with her. While he was sending for a cart to take her onward to Stickleford Hipcroft anxiously inquired, how it had all happened; and then the assembly explained that a fiddler formerly known in the locality had lately visited his old haunts, and had taken upon himself without invitation to play that evening at the inn and raise a dance. Ned demanded the fiddler's name, and they said Ollamoor.
"Ah!" exclaimed Ned, looking round him. "Where is he, and where—where's my little girl?"
Ollamoor had disappeared, and so had the child. Hipcroft was in ordinary a quiet and tractable fellow, but a determination which was to be feared settled in his face now. "Blast him!" he cried. "I'll beat his skull in for'n, if I swing for it tomorrow!"
He had rushed to the poker which lay on the hearth, and has tened down the passage, the people following. Outside the house, on the other side of the highway, a mass of dark heath-land rose sullenly upward to its not easily accessible interior, a ravined plateau, whereon jutted into the sky, at the distance of a couple of miles, the fir-woods of Mistover backed by the Yalbury coppices—a place of Dantesque gloom at this hour, which would have afforded secure hiding for a battery of artillery, much less a man and a child.
Some other men plunged thitherward with him, and more went along the road. They were gone about twenty minutes altogether, returning without result to the inn. Ned sat down in the settle, and clasped his forehead with his hands.
"Well—what a fool the man is, and hev been all these years, if he thinks the child his, as a' do seem to!" they whispered. "And everybody else knowing otherwise!"
"No, I don't think 'tis mine!" cried Ned hoarsely, as he looked up from his hands. "But she is mine, all the same! Ha'n't I nussed her? Ha'n't I fed her and teached her? Ha'n't I played wi' her? O, little Carry—gone with that rogue—gone!"
"You ha'n't lost your mis'ess, anyhow," they said to console him. "She's throwed up the sperrits, and she is feeling better, and she's more to 'ee than a child that isn't yours."
"She isn't! She's not so particular much to me, especially now she's lost the little maid! But Carry's the whole world to me!"
"Well, ver' like you'll find her tomorrow."
"Ah—but shall I? Yet he can't hurt her—surely he can't! Well—how's Car'line now? I am ready. Is the cart here?"
She was lifted into the vehicle, and they sadly lumbered on toward Stickleford. Next day she was calmer; but the fits were still upon her; and her will seemed shattered. For the child she appeared to show singularly little anxiety, though Ned was nearly distracted by his passionate paternal love for a child not his own. It was nevertheless quite expected that the impish Mop would restore the lost one after a freak of a day or two; but time went on, and neither he nor she could be heard of, and Hipcroft murmured that perhaps he was exercising upon her some unholy musical charm, as he had done upon Car'line herself. Weeks passed, and still they could obtain no clue either to the fiddler's whereabouts or to the girl's; and how he induced her to go with him remained a mystery.
Then Ned, who had obtained only temporary employment in the neighborhood, took a sudden hatred toward his native district, and a rumor reaching his ears through the police that a somewhat similar man and child had been seen at a fair near London, he playing a violin, she dancing on stilts, a new interest in the capital took possession of Hipcroft with an intensity which would scarcely allow him time to pack before returning thither. He did not, however find the lost one, though he made it the entire business of his over-hours to stand about in by-streets in the hope of discovering her, and would start up in the night, saying, "That rascal's torturing her to maintain him!" To which his wife would answer peevishly, "Don't 'ee raft yourself so, Ned! You prevent my getting a bit o' rest! He won't hurt her!" and fall asleep again.
That Carry and her father had emigrated to America was the general opinion; Mop, no doubt, finding the girl a highly desirable companion when he had trained her to keep him by her earnings as a dancer. There, for that matter, they may be performing in some capacity now, though he must bean old scamp verging on three-score-and-ten, and she a woman of four-and-forty.
Editor 1 Interpretation
The Fiddler of the Reels by Thomas Hardy: A Masterpiece of Realism
Thomas Hardy, one of the greatest writers of the Victorian era, is known for his realistic and pessimistic portrayal of life in the rural areas of England. His stories are often characterized by their vivid descriptions of nature, their complex characters, and their exploration of themes such as love, death, and fate. The Fiddler of the Reels, one of Hardy's most celebrated short stories, is a perfect example of his mastery of the art of realism. In this essay, I will provide a detailed literary criticism and interpretation of this masterpiece, exploring its themes, characters, and narrative structure.
The Plot
The Fiddler of the Reels is a story set in a small village in rural England. The plot revolves around the relationships between three characters: the fiddler, the milkmaid, and the young man. The fiddler is a middle-aged man who spends most of his time playing his fiddle at various pubs and events in the village. He is known for his skill and his ability to make people dance. The milkmaid is a young woman who works on a farm and has a reputation for being flirtatious. She is attracted to the fiddler and enjoys his company. The young man is a newcomer to the village who has recently inherited a farm from his uncle. He is wealthy and well-educated, but also somewhat naive and inexperienced.
The story begins with the fiddler playing at a pub where the milkmaid and the young man are also present. The milkmaid is immediately drawn to the fiddler's music and his charming personality. She flirts with him and invites him to visit her on the farm where she works. The fiddler accepts the invitation and begins to spend more time with the milkmaid.
Meanwhile, the young man becomes infatuated with the milkmaid and begins to court her. However, he is jealous of the fiddler and sees him as a threat to his relationship with the milkmaid. He tries to compete with the fiddler by offering the milkmaid gifts and attention, but she remains more interested in the fiddler.
As the story progresses, the fiddler and the milkmaid become more intimate, and the young man becomes more jealous and paranoid. He begins to spy on the fiddler and the milkmaid, and even follows them to a secluded spot by the river where they are alone. In a fit of rage and jealousy, the young man attacks the fiddler and beats him severely.
The story ends with the fiddler leaving the village and the milkmaid losing interest in both the fiddler and the young man. The young man is left alone and bitter, realizing that his jealousy and insecurity have ruined any chance he had with the milkmaid.
Themes
One of the main themes of The Fiddler of the Reels is the destructive power of jealousy. The young man's jealousy and insecurity lead him to become violent and aggressive, ultimately ruining any chance he had with the milkmaid. Hardy portrays jealousy as a self-destructive emotion that can lead to irrational behavior and the destruction of relationships.
Another theme that runs throughout the story is the conflict between tradition and modernity. The fiddler represents the traditional way of life in rural England, with his music and his simple way of living. The young man, on the other hand, represents the modern way of life, with his wealth and his education. The story suggests that these two ways of life are incompatible and that the clash between them can lead to conflict and violence.
The story also explores the theme of gender roles and sexuality. The milkmaid is portrayed as a sexually liberated woman who enjoys flirting and being with men. She is contrasted with the young man, who is portrayed as naive and inexperienced in matters of love and sexuality. The story suggests that traditional gender roles are being challenged in the modern world, and that this can lead to tension and conflict.
Characters
The Fiddler of the Reels features three main characters, each with their own distinct personality and motivations. The fiddler is a complex character who is both charming and manipulative. He uses his music and his charisma to attract people to him, but also takes advantage of their trust and their admiration. The milkmaid is also a complex character who is both flirtatious and vulnerable. She enjoys the attention of men, but also wants to be respected and valued for who she is. The young man is the most straightforward character, but also the most tragic. He is driven by his jealousy and insecurity, and ultimately destroys his own chances of happiness.
Narrative Structure
The Fiddler of the Reels is a well-structured story that uses a variety of techniques to heighten its impact. The story is told from a third-person point of view, but also includes the thoughts and feelings of the main characters. This allows the reader to understand the motivations behind their actions and to empathize with their struggles.
The story also uses symbolism and imagery to reinforce its themes. The fiddle, for example, represents tradition and the simple pleasures of life, while the river represents the forces of change and the unpredictable nature of life. The use of these symbols adds depth and complexity to the story, and underscores the conflict between tradition and modernity.
The story also uses foreshadowing to build tension and suspense. From the beginning, the reader senses that the young man's jealousy will lead to a violent confrontation, and this anticipation adds to the emotional impact of the story.
Conclusion
In conclusion, The Fiddler of the Reels is a masterpiece of realism that explores themes of jealousy, tradition, and sexuality. Its well-drawn characters and carefully structured narrative make it a compelling and thought-provoking work of literature. Thomas Hardy's ability to portray the complexities of human relationships and the forces that drive them is what makes this story a timeless classic. It is a must-read for anyone interested in the art of storytelling and the human condition.
Editor 2 Analysis and Explanation
The Fiddler of the Reels: A Masterpiece of Thomas Hardy
Thomas Hardy, the renowned English novelist and poet, is known for his realistic portrayal of rural life and the struggles of ordinary people. His short story, The Fiddler of the Reels, is a classic example of his literary genius. The story is set in the fictional village of Mellstock in Wessex, and it revolves around the lives of two brothers, Jim and Bob. The story is a poignant tale of love, jealousy, and betrayal, and it is a masterpiece of Hardy's writing.
The story begins with the arrival of a new fiddler in the village, who is known for his exceptional skills. The fiddler's music attracts the attention of the villagers, and he becomes a popular figure in the community. Jim, the elder brother, is a skilled dancer, and he is immediately drawn to the fiddler's music. He becomes the fiddler's regular dance partner, and the two develop a close friendship.
Bob, on the other hand, is jealous of his brother's relationship with the fiddler. He feels left out and neglected, and he becomes resentful of the fiddler's presence in their lives. Bob is in love with a local girl named Hannah, but she is more interested in Jim. Bob's jealousy and bitterness towards Jim and the fiddler lead him to take drastic measures.
Bob decides to sabotage Jim's relationship with the fiddler by spreading rumors about him. He tells the villagers that Jim is stealing from their father's farm and that he is a dishonest person. The rumors spread quickly, and soon Jim becomes an outcast in the village. The fiddler, who is unaware of the rumors, continues to play music for Jim, but Jim is too ashamed to dance with him.
The climax of the story comes when the fiddler discovers the truth about the rumors. He confronts Bob and tells him that he will never play music for him again. Bob, realizing the gravity of his actions, confesses to Jim and begs for his forgiveness. Jim forgives him, and the two brothers reconcile.
The story ends with the fiddler leaving the village, and Jim and Bob returning to their normal lives. However, the events of the story have left a lasting impact on the brothers. Jim is no longer the carefree dancer he once was, and Bob is haunted by the guilt of his actions.
The Fiddler of the Reels is a powerful story that explores the themes of jealousy, betrayal, and forgiveness. Hardy's writing is masterful, and he creates a vivid and realistic portrayal of rural life in Wessex. The characters are well-developed, and their emotions and motivations are believable and relatable.
One of the most striking aspects of the story is the contrast between the fiddler's music and the harsh realities of life in the village. The fiddler's music is a source of joy and escape for the villagers, but it is also a reminder of the limitations of their lives. The fiddler represents the possibility of something better, something beyond the confines of their small village.
The story also explores the complex relationship between brothers. Jim and Bob's relationship is complicated by their love for the same woman and their differing personalities. Jim is outgoing and carefree, while Bob is introverted and jealous. Their relationship is strained by their conflicting emotions, but ultimately, they are able to reconcile.
The Fiddler of the Reels is a timeless story that continues to resonate with readers today. Its themes of jealousy, betrayal, and forgiveness are universal, and its portrayal of rural life in Wessex is both realistic and poetic. Hardy's writing is a testament to his literary genius, and his ability to capture the complexities of human emotions and relationships. The Fiddler of the Reels is a must-read for anyone who appreciates great literature.
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