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Under the Greenwood Tree
Thomas Hardy
HarperCollins is proud to present its incredible range of best-loved, essential classics.From the author of ‘Tess of the D’Urbervilles’, ‘Under the Greenwood Tree’ is a tale of love, tragedy, and the changing charm of traditional village life when it is met with the cold reality of modernity.Centring on the quaint rural village of Mellstock, set deep within Hardy’s imagined and picturesque county of Wessex, the novel revolves around a double plot of the hopeful love story of Dick Dewey and Fancy Day and the tragic demise of the Mellstock Choir, and what the crumbling of long-held traditions means to the local community. The arrival of Mr Maybold, a new vicar with newfangled ideas, unsettles the local community with ideas of revolutionary change, in which the church and its generations-old choir are an anchor.Considered one of Hardy’s most upbeat and optimistic novels, Under the Greenwood Tree explores issues of past and future, hope and love, and is a delightful addition to the Collins’ canon of Thomas Hardy classic novels.
UNDER THE GREENWOOD TREE
Thomas Hardy
CONTENTS
Title Page (#u13b70bba-7577-5566-8847-aa665c746b41)
History of Collins (#uc5bfc828-c650-5ca7-9ea0-84fa72404164)
Life & Times (#u36ebd958-a2e3-5a3c-b6f9-5bc069a6ab3d)
Part The First Winter (#u072e1330-7b43-5502-b305-f8bb6ca21f6a)
Chapter 1 Mellstock Lane (#u578cf49b-f89d-5184-a68d-a8be7abce687)
Chapter 2 The Tranter’s (#u10d6edb4-9929-5a78-b682-6c4dd465baf1)
Chapter 3 The Assembled Quire (#uf38e80f6-14d3-5186-a84f-cca9054c17fd)
Chapter 4 Going the Rounds (#u76c027d1-9543-5d46-91fc-85f320701e63)
Chapter 5 The Listeners (#ub6ee598d-6bbb-583c-a561-c0c4ddac4fde)
Chapter 6 Christmas Morning (#u3725eec0-24a9-5c23-9b92-ee69d654dbf7)
Chapter 7 The Tranter’s Party (#ud94560b3-3629-5cc3-87dd-0f91af62ca5d)
Chapter 8 They Dance More Wildly (#uffb64823-f321-5f4e-a490-fe496d8a6227)
Chapter 9 Dick Calls at the School (#litres_trial_promo)
Part The Second Spring (#litres_trial_promo)
Chapter 1 Passing by the School (#litres_trial_promo)
Chapter 2 A Meeting of the Quire (#litres_trial_promo)
Chapter 3 A Turn in the Discussion (#litres_trial_promo)
Chapter 4 The Interview with the Vicar (#litres_trial_promo)
Chapter 5 Returning Homeward (#litres_trial_promo)
Chapter 6 Yalbury Wood and the Keeper’s House (#litres_trial_promo)
Chapter 7 Dick Makes Himself Useful (#litres_trial_promo)
Chapter 8 Dick Meets His Father (#litres_trial_promo)
Part The Third Summer (#litres_trial_promo)
Chapter 1 Driving Out of Budmouth (#litres_trial_promo)
Chapter 2 Further Along the Road (#litres_trial_promo)
Chapter 3 A Confession (#litres_trial_promo)
Chapter 4 An Arrangement (#litres_trial_promo)
Part The Fourth Autumn (#litres_trial_promo)
Chapter 1 Going Nutting (#litres_trial_promo)
Chapter 2 Honey-taking, and Afterwards (#litres_trial_promo)
Chapter 3 Fancy in the Rain (#litres_trial_promo)
Chapter 4 The Spell (#litres_trial_promo)
Chapter 5 After Gaining Her Point (#litres_trial_promo)
Chapter 6 Into Temptation (#litres_trial_promo)
Chapter 7 Second Thoughts (#litres_trial_promo)
Part The Fifth Conclusion (#litres_trial_promo)
Chapter 1 “The Knot there’s no Untying” (#litres_trial_promo)
Chapter 2 Under the Greenwood Tree (#litres_trial_promo)
Classic Literature: Words and Phrases adapted from the Collins English Dictionary (#litres_trial_promo)
Copyright (#litres_trial_promo)
About the Publisher (#litres_trial_promo)
History of Collins (#ulink_02a051c2-9e2b-566f-a3f8-ef7f4087470c)
In 1819, millworker William Collins from Glasgow, Scotland, set up a company for printing and publishing pamphlets, sermons, hymn books and prayer books. That company was Collins and was to mark the birth of HarperCollins Publishers as we know it today. The long tradition of Collins dictionary publishing can be traced back to the first dictionary William published in 1824, Greek and English Lexicon. Indeed, from 1840 onwards, he began to produce illustrated dictionaries and even obtained a licence to print and publish the Bible.
Soon after, William published the first Collins novel, Ready Reckoner, however it was the time of the Long Depression, where harvests were poor, prices were high, potato crops had failed and violence was erupting in Europe. As a result, many factories across the country were forced to close down and William chose to retire in 1846, partly due to the hardships he was facing.
Aged 30, William’s son, William II took over the business. A keen humanitarian with a warm heart and a generous spirit, William II was truly ‘Victorian’ in his outlook. He introduced new, up-to-date steam presses and published affordable editions of Shakespeare’s works and Pilgrim’s Progress, making them available to the masses for the first time. A new demand for educational books meant that success came with the publication of travel books, scientific books, encyclopaedias and dictionaries. This demand to be educated led to the later publication of atlases and Collins also held the monopoly on scripture writing at the time.
In the 1860s Collins began to expand and diversify and the idea of ‘books for the millions’ was developed. Affordable editions of classical literature were published and in 1903 Collins introduced 10 titles in their Collins Handy Illustrated Pocket Novels. These proved so popular that a few years later this had increased to an output of 50 volumes, selling nearly half a million in their year of publication. In the same year, The Everyman’s Library was also instituted, with the idea of publishing an affordable library of the most important classical works, biographies, religious and philosophical treatments, plays, poems, travel and adventure. This series eclipsed all competition at the time and the introduction of paperback books in the 1950s helped to open that market and marked a high point in the industry.
HarperCollins is and has always been a champion of the classics and the current Collins Classics series follows in this tradition – publishing classical literature that is affordable and available to all. Beautifully packaged, highly collectible and intended to be reread and enjoyed at every opportunity.
Life & Times (#ulink_9be4ce37-77a8-5480-bde1-efc73caffb67)
About the Author
Thomas Hardy was born in a Dorset village in 1840. Although he had a modest upbringing, Hardy found himself working successfully as an architect in London at the age of 22. He spent five years in London, but was eventually drawn back to Dorset because he did not enjoy the urban environment or the class prejudice he felt, mixing with the well-heeled of England’s capital city. Having returned to the countryside, he began to consider an alternative career as a novelist. By 1867, he had already completed a manuscript, but had no luck placing it with a publisher. Despite this, his ambition knew no bounds and he persevered securing his first publication in 1871. His first five novels were well received, and Hardy’s confidence in pushing the literary envelope grew steadily.
Under the Greenwood Tree
Most of Hardy’s work is set in a semi-fictional region called Wessex. The name comes from the Anglo-Saxon Kingdom of Wessex, which was eventually fragmented following the invasion of William the Conqueror in 1066. In his imaginary Wessex, Hardy gives many real places alternative names as if it were a kind of parallel universe. The first of Thomas Hardy’s 10 Wessex novels is Under the Greenwood Tree (1872).
The novel alludes to a time when English churches had West Gallery musicians to provide the music and song. They comprised singers and players of various string, reed and wind instruments. When the church organ was invented, these ensembles were phased out for various reasons. First and foremost, it was cheaper and easier to instruct a single organist than to maintain a choir. Secondly, West Gallery was deemed to be to colourful and uplifting by those with more pious protestant leanings. They preferred the more solemn sound of the congregation singing hymns with the organ as accompaniment. So it was that West Gallery choirs fell from favour, partly due to the Victorian idea of progress, partly due to the Victorian religious moral and ethical compass.
This process of change had occurred in Hardy’s own local church, so he used it as the axis for his story, creating the opportunity for him to invent a cast of characters. As well as the members of the West Gallery choir, there is the vicar and the organist, an attractive girl and the love interest of the tale. Employing a theme that sits at the heart of Hardy’s work, she is unaware of the potency of her beauty and her lack of certainty about her own desires leads her to become torn between two admirers. Ultimately, she marries the right man, but she has to hide a secret. This provides an element of tension at the end of the story, as well as leaving the girl imperfect in the mind of the reader.
Hardy’s preoccupation with pretty women, whom he sees as untrustworthy temptresses, appears to be a personal issue that would seem to have had something to do with real life experiences. Be that as it may, it lends itself very well to his novels, in which feminine beauty is depicted as a mysterious allure that leads men to behave in obsessive, peculiar and unexpected ways. This sets Hardy up with a reliable tool for creating plots that are as gripping as any literature written before or since.
It can be argued that Hardy was inadvertently responding to Darwinian ideas at that time, as he paints a picture of the human male responding to primal instincts that are ever present, despite any pretentions towards being civilized and removed from nature. Hardy’s men are controlled by their base need to procreate, even though they perceive it as a higher desire to possess. This simple truth exposes their evolved psychology, so that they become instinctual creatures, capable of spontaneous acts of love, lust, foolishness, anger, aggression and violence. They are cavemen in 19
-century clothing, unable to ignore their hormonal drives.
Hardy’s Later Works
His sixth novel The Return of the Native (1878) is widely regarded as the first modern novel, because it dared to examine themes that Victorian society brushed under the carpet – namely sexual desire and obsession. The central female character, Eustacia, is something of a femme fatale. She is distractingly beautiful, but her seductive manipulation of the male characters leads to her death and that of her lover Wildeve. The book caused a stir in polite society, but it raised the bar in terms of what a novel could achieve as a medium for comment on the human condition. Eustacia essentially saw herself as a special individual and her ambitions led her to behave in ways that the local community could not accept. She was vilified for her lack of ability to fit in and accept her lot in life.
In 1886 Hardy published The Mayor of Casterbridge. At a country fair, Henchard, Hardy’s tragic hero, auctions off his wife and daughter when he’s drunk. He spends most of his life repenting for this act and eventually becomes an upstanding citizen of Casterbridge. Throughout the novel, Hardy focuses on the importance of reputation and good character and demonstrates how the present is always haunted by the past and cannot be denied.
Hardy’s best-known novel, Tess of the d’Urbervilles, was published in 1891. Tess starts out as an innocent peasant girl, but embarks on a tragic tale that ends in her execution for murder. For Hardy, the story was an examination of how the individual can wind up in such desperate situations, even when their beginnings are much the same as others people’s. Like Eustacia, Tess is attractive and her ambitions lead her into scenarios that make her life ever more unsettled. The admission that people could be drawn by lust and desire to flout the rules of society came as a shock to the Victorian audience, but Hardy was also attempting to show what happens when rules are ignored. In essence, Tess is a victim of circumstance, but she is still allowed to make her own decisions. It is this interplay between the involuntary and voluntary that makes Tess’ story so tragic, and also explains why the book is regarded as a masterpiece of English prose.
Hardy’s Literary Legacy
In many respects the literature of Thomas Hardy is quintessentially English in tone and content. His stories are set in the deepest rural and bucolic southwest, where time attempts to stand still, preserving an English idyll that was worlds apart from the industrialization of the 19th century. For this reason his novels are described as belonging to the genre of ‘naturalism’.
Hardy was born and bred in Dorsetshire (now known simply as Dorset) and that is the epicentre of his constructed fictional world – one that is half imagined, half real, for he substitutes the actual names for places with alternatives conjured from his own mind. Hardy was primarily concerned with the innate nature of personalities in his literature. He ascribed each character with a personality type which largely predetermined their fate. While other authors, such as Charles Dickens, conveyed the idea that people can learn from their mistakes and change, Hardy showed the opposite. For Hardy, people never really learn the error of their ways and fate will deal them their hand in proportion to their level of selfishness, vanity, pride, foolishness, arrogance, unkindness or other failing. In some cases Hardy even resorts to having troublesome characters killed off or removed to prison in order to restore harmony. In this way he gives the more deserving the opportunity to alter their circumstances for the better.
One might think that Hardy was religious, given this moral and ethical filter, but he wasn’t particularly interested in religion. He was more taken by the idea of allowing his characters to express superstitions and supernatural beliefs. In this regard he was really adopting the view of the anthropologist, who remains necessarily impartial on matters of belief, so that they can study people with neutrality. His work is also filled with subtle allusions to Classical references, which he used to underpin central characters.
Hardy used to search for events reported in newspapers and often used them in his plots. It wasn’t so much that he lacked the imagination to think up ideas, but that he wanted to inject a sense of realism by introducing elements that simply would not have occurred to him. Real life can sometimes be stranger than fiction.
In Far From the Madding Crowd, published in serial form in 1874, Bathsheba is the beautiful female protagonist and it is through her experiences that Hardy exposes his feelings on romantic love and the inconsistency and destruction that can be caused by relationships. However, the central concern is Hardy’s preoccupation with the modernity and industrialisation of society. Many of his texts are set in rural locations and Hardy details the dialects, landscape and people of the English countryside to try and preserve that history and endangered way of life. Central to Hardy’s overall ambition was to show that living people are only ever custodians of the world for future generations. Dorset is filled with ancient sites of human activity and prehistoric evidence of a past without humanity. Hardy wanted to make it clear that we each have a window of opportunity in life to make our mark. That is why he had little time for people whom he considered to be fatuous or self interested, because he was acutely aware that it is the impression that we make on others and in their memories that counts the most, both during life and after death.
Apart from anything else, Hardy had an eye for the tragedy of life. He was a humanist, who cared about the underdog and expressed this by dealing with those who were more privileged in his prose. His own life was not entirely filled with happiness, as he became estranged from his first wife and was then deeply affected by her death. Many of his female characters have a dangerous beauty to them, suggesting that Hardy’s view of women was perhaps coloured by his own experience and that he felt men fall for the charm and allure of women, but end up beguiled and unhappy as the result of their infatuation.
PART THE FIRST (#ulink_a698fd60-bc3b-5ec5-8723-833f7ff72f46)
CHAPTER 1 (#ulink_92f117a4-fdd4-5d57-b0fc-a269cc12ffee)
Mellstock Lane (#ulink_92f117a4-fdd4-5d57-b0fc-a269cc12ffee)
To dwellers in a wood almost every species of tree has its voice as well as its feature. At the passing of the breeze the fir-trees sob and moan no less distinctly than they rock; the holly whistles as it battles with itself; the ash hisses amid its quiverings; the beech rustles while its flat boughs rise and fall. And winter, which modifies the note of such trees as shed their leaves, does not destroy its individuality.
On a cold and starry Christmas-eve within living memory a man was passing up a lane towards Mellstock Cross in the darkness of a plantation that whispered thus distinctively to his intelligence. All the evidences of his nature were those afforded by the spirit of his footsteps, which succeeded each other lightly and quickly, and by the liveliness of his voice as he sang in a rural cadence:
“With the rose and the lily
And the daffodowndilly,
The lads and the lasses a-sheep-shearing go.”
The lonely lane he was following connected one of the hamlets of Mellstock parish with Upper Mellstock and Lewgate, and to his eyes, casually glancing upward, the silver and black-stemmed birches with their characteristic tufts, the pale grey boughs of beech, the dark-creviced elm, all appeared now as black and flat outlines upon the sky, wherein the white stars twinkled so vehemently that their flickering seemed like the flapping of wings. Within the woody pass, at a level anything lower than the horizon, all was dark as the grave. The copse-wood forming the sides of the bower interlaced its branches so densely, even at this season of the year, that the draught from the north-east flew along the channel with scarcely an interruption from lateral breezes.
After passing the plantation and reaching Mellstock Cross the white surface of the lane revealed itself between the dark hedgerows like a ribbon jagged at the edges; the irregularity being caused by temporary accumulations of leaves extending from the ditch on either side.
The song (many times interrupted by flitting thoughts which took the place of several bars, and resumed at a point it would have reached had its continuity been unbroken) now received a more palpable check, in the shape of “Ho-i-i-i-i-i!” from the crossing lane to Lower Mellstock, on the right of the singer who had just emerged from the trees.
“Ho-i-i-i-i-i!” he answered, stopping and looking round, though with no idea of seeing anything more than imagination pictured.
“Is that thee, young Dick Dewy?” came from the darkness.
“Ay, sure, Michael Mail.”
“Then why not stop for fellow-craters—going to thy own father’s house too, as we be, and knowen us so well?”
Dick Dewy faced about and continued his tune in an under-whistle, implying that the business of his mouth could not be checked at a moment’s notice by the placid emotion of friendship.
Having come more into the open he could now be seen rising against the sky, his profile appearing on the light background like the portrait of a gentleman in black cardboard. It assumed the form of a low-crowned hat, an ordinary-shaped nose, an ordinary chin, an ordinary neck, and ordinary shoulders. What he consisted of further down was invisible from lack of sky low enough to picture him on.
Shuffling, halting, irregular footsteps of various kinds were now heard coming up the hill, and presently there emerged from the shade severally five men of different ages and gaits, all of them working villagers of the parish of Mellstock. They, too, had lost their rotundity with the daylight, and advanced against the sky in flat outlines, which suggested some processional design on Greek or Etruscan pottery. They represented the chief portion of Mellstock parish choir.
The first was a bowed and bent man, who carried a fiddle under his arm, and walked as if engaged in studying some subject connected with the surface of the road. He was Michael Mail, the man who had hallooed to Dick.
The next was Mr Robert Penny, boot- and shoemaker; a little man, who, though rather round-shouldered, walked as if that fact had not come to his own knowledge, moving on with his back very hollow and his face fixed on the north-east quarter of the heavens before him, so that his lower waistcoat-buttons came first, and then the remainder of his figure. His features were invisible; yet when he occasionally looked round, two faint moons of light gleamed for an instant from the precincts of his eyes, denoting that he wore spectacles of a circular form.
The third was Elias Spinks, who walked perpendicularly and dramatically. The fourth outline was Joseph Bowman’s, who had now no distinctive appearance beyond that of a human being. Finally came a weak lath-like form, trotting and stumbling along with one shoulder forward and his head inclined to the left, his arms dangling nervelessly in the wind as if they were empty sleeves. This was Thomas Leaf.
“Where be the boys?” said Dick to this somewhat indifferently-matched assembly.
The eldest of the group, Michael Mail, cleared his throat from a great depth.
“We told them to keep back at home for a time, thinken they wouldn’t be wanted yet awhile; and we could choose the tunes, and so on.”
“Father and grandfather William have expected ye a little sooner. I have just been for a run round by Ewelease Stile and Hollow Hill to warm my feet.”
“To be sure father did! To be sure ’a did expect us—to taste the little barrel beyond compare that he’s going to tap.”
“’Od rabbit it all! Never heard a word of it!” said Mr Penny, gleams of delight appearing upon his spectacle-glasses, Dick meanwhile singing parenthetically—
