(Mass Market Paperback)
The native of the title is Clym Yeobright, who returns to the area from the bright society of Paris and, as any reader of Hardy knows, all is not smooth. He is quickly taken by and marries the one woman he should not--Eustacia Vye. The suffering that follows is mitigated somewhat by the ending.
More Reviews and RecommendationsVictorian novelist and poet Thomas Hardy focused much of his work -- including classics like Far from the Madding Crowd (1874) and Tess of the d'Urbervilles (1891) on man's futile struggle against unseen forces. Of his rather unromantic outlook on life, Hardy once said, "Pessimism is, in brief, playing the sure game. You cannot lose at it; you may gain. It is the only view of life in which you can never be disappointed."
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August 29, 2008: You'd expect Hardy to be something English students have to suffer through, but I thoroughly enjoyed this one. A pleasant surprise. Eustacia and Clym are far from the stereotypical repressed Englishfolk. I actually related to this and it was surprisingly suspenseful!
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July 31, 2003: I've always admired Thomas Hardy's work. This book has a plot that is very well developed. Like most the books, the beginning is hard to get through. But I liked the ending very much.

Name:
Thomas Hardy
Date of Birth:
June 02, 1840
Place of Birth:
Higher Brockhampon, Dorset, England
Date of Death
January 11, 1928
Place of Death
Max Gate, Dorchester, England
Education:
Served as apprentice to architect James Hicks
Thomas Hardy was born on June 2, 1840, in the village of Higher Bockhampton, near Dorchester, a market town in the county of Dorset. Hardy would spend much of his life in his native region, transforming its rural landscapes into his fictional Wesses. Hardy's mother, Jemima, inspired him with a taste for literature, while his stonemason father, Thomas, shared with him a love of architecture and music (the two would later play the fiddle at local dances). As a boy Hardy read widely in the popular fiction of the day, including the novels of Scott, Dumas, Dickens, W. Harrison Ainsworth, and G.P.R. James, and in the poetry of Scott, Wordsworth, Byron, Shelley, Keats, and others. Strongly influenced in his youth by the Bible and the liturgy of the Anglican Church, Hardy later contemplated a career in the ministry; but his assimilation of the new theories of Darwinian evolutionism eventually made him an agnostic and a severe critic of the limitations of traditional religion.
Although Hardy was a gifted student at the local schools he attended as a boy for eight years, his lower-class social origins limited his further educational opportunities. At sixteen, he was apprenticed to architect James Hicks in Dorchester and began an architectural career primarily focused on the restoration of churches. In Dorchester Hardy was also befriended by Horace Moule, eight years Hardy's senior, who acted as an intellectual mentor and literary adviser throughout his youth and early adulthood. From 1862 to 1867 hardy worked in London for the distinguished architect Arthur Blomfeld, but he continued to study -- literature, art, philosophy, science, history, the classics -- and to write, first poetry and then fiction.
In the early 1870s Hardy's first two published novels, Desperate Remedies and Under the Greenwood Tree, appeared to little acclaim or sales. With his third novel, A Pair of Blue Eyes, he began the practice of serializing his fiction in magazines prior to book publication, a method that he would utilize throughout his career as a novelist. In 1874, the year of his marriage to Emma Gifford of St. Juliot, Cornwall, Hardy enjoyed his first significant commercial and critical success with the book publication of Far from the Madding Crowd after its serialization in the Cornhill Magazine. Hardy and his wife lived in several locations in London, Dorset, and Somerset before settling in South London for three years in 1878. During the late 1870s and early 1880s, Hardy published The Return of the Native, The Trumpet-Major, A Laodicean, and Two on a Tower while consolidating his pace as a leading contemporary English novelist. He would also eventually produce four volumes of short stories: Wessex Tales, A Group of Noble Dames, Life's Little Ironies, and A Changed Man.
In 1883, Hardy and his wife moved back to Dorchester, where Hardy wrote The Mayor of Casterbridge, set in a fictionalized version of Dorchester, and went on to design and construct a permanent home for himself, named Max Gate, completed in 1885. In the later 1880s and early 1890s Hardy wrote three of his greatest novels, The Woodlanders, Tess of the d'Urbevilles, and Jude the Obscure, all of them notable for their remarkable tragic power. The latter two were initially published as magazine serials in which Hardy removed potentially objectionable moral and religious content, only to restore it when the novels were published in book form; both novels nevertheless aroused public controversy for their criticisms of Victorian sexual and religious mores. In particular, the appearance of Jude the Obscure in 1895 precipitated harsh attacks on Hardy's alleged pessimism and immorality; the attacks contributed to his decision to abandon the writing of fiction after the appearance of his last-published novel, The Well-Beloved.
In the later 1890s Hardy returned to the writing of poetry that he had abandoned for fiction thirty years earlier. Wessex Poems appeared in 1898, followed by several volumes of poetry at regular intervals over the next three decades. Between 1904 and 1908 Hardy published a three-part epic verse drama, The Dynasts, based on the Napoleonic Wars of the early nineteenth century. Following the death of his first wife in 1912, Hardy married his literary secretary Florence Dugdale in 1914. Hardy received a variety of public honors in the last two decades of his life and continued to publish poems until his death at Max Gate on January 11, 1928. His ashes were interred in the Poets' Corner of Westminster Abbey in London and his heart in Stinsford outside Dorchester. Regarded as one of England's greatest authors of both fiction and poetry, Hardy has inspired such notable twentieth-century writers as Marcel Proust, John Cowper Powys, D. H. Lawrence, Theodore Dreiser, and John Fowles.
Author biography from the Barnes & Noble Classics edition of Far from the Madding Crowd.
In Hardy's The Return of the Native, Eustacia Vye criss-crosses the wild Egdon Heath, eager to experience life to the full in her quest for "music, poetry, passion, war." She marries Clym Yeobright, a native of the heath, but his idealism frustrates her romantic ambitions and her discontent draws others into a tangled web of deceit and unhappiness. Early readers responded to Hardy's "insatiably observant" descriptions of the heath, a setting that for D. H. Lawrence provided the "real stuff of tragedy." For modern readers, the tension between the mythic setting of the heath and the modernity of the characters challenges our freedom to shape the world as we wish; like Eustacia, we may not always be able to live our dreams.
This edition has the only critical text based on the manuscript and first edition, and without the later changes that substantially altered Hardy's original intentions. The new introduction by critic Margaret R. Higonnet is the most critically up-to-date discussion of the novel available and considers the mythic nature of the heath opposed to the modernity of the characters, the economic vocabulary of value and investment, the novel's classical structure, and Hardy's cinematic techniques.
Loading...| Book 1 | The Three Women | |
| I. | A Face on Which Time Makes But Little Impression | 1 |
| II. | Humanity Appears upon the Scene, Hand in Hand with Trouble | 4 |
| III. | The Custom of the Country | 9 |
| IV. | The Halt on the Turnpike Road | 25 |
| V. | Perplexity among Honest People | 29 |
| VI. | The Figure against the Sky | 39 |
| VII. | Queen of Night | 49 |
| VIII. | Those Who Are Found Where There Is Said to Be Nobody | 54 |
| IX. | Love Leads a Shrewd Man into Strategy | 58 |
| X. | A Desperate Attempt at Persuasion | 65 |
| XI. | The Dishonesty of an Honest Woman | 72 |
| Book 2 | The Arrival | |
| I. | Tidings of the Comer | 79 |
| II. | The People at Blooms-End Make Ready | 83 |
| III. | How a Little Sound Produced a Great Dream | 86 |
| IV. | Eustacia Is Led on to an Adventure | 89 |
| V. | Through the Moonlight | 97 |
| VI. | The Two Stand Face to Face | 102 |
| VII. | A Coalition Between Beauty and Oddness | 111 |
| VIII. | Firmness Is Discovered in a Gentle Heart | 118 |
| Book 3 | The Fascination | |
| I. | "My Mind to Me a Kingdom Is" | 127 |
| II. | The New Course Causes Disappointment | 131 |
| III. | The First Act in a Timeworn Drama | 137 |
| IV. | An Hour of Bliss and Many Hours of Sadness | 148 |
| V. | Sharp Words Are Spoken, and a Crisis Ensues | 154 |
| VI. | Yeobright Goes, and the Breach Is Complete | 159 |
| VII. | The Morning and the Evening of a Day | 165 |
| VIII. | A New Force Disturbs the Current | 175 |
| Book 4 | The Closed Door | |
| I. | The Rencounter by the Pool | 183 |
| II. | He Is Set upon by Adversities; But He Sings a Song | 188 |
| III. | She Goes Out to Battle Against Depression | 196 |
| IV. | Rough Coercion Is Employed | 205 |
| V. | The Journey Across the Health | 211 |
| VI. | A Conjuncture, and Its Result upon the Pedestrian | 214 |
| VII. | The Tragic Meeting of Two Old Friends | 222 |
| VIII. | Eustacia Hears of Good Fortune and Beholds Evil | 228 |
| Book 5 | The Discovery | |
| I. | "Wherefore Is Light Given to Him That Is in Misery" | 235 |
| II. | A Lurid Light Breaks in Upon a Darkened Understanding | 241 |
| III. | Eustacia Dresses Herself on a Black Morning | 248 |
| IV. | The Ministrations of a Half-Forgotten One | 254 |
| V. | An Old Move Inadvertently Repeated | 258 |
| VI. | Thomasin Argues with Her Cousin, and He Writes a Letter | 263 |
| VII. | The Night of the Sixth of November | 268 |
| VIII. | Rain, Darkness, and Anxious Wanderers | 274 |
| IX. | Sights and Sounds Draw the Wanderers Together | 282 |
| Book 6 | Aftercourses | |
| I. | The Inevitable Movement Onward | 291 |
| II. | Thomasin Walks in a Green Place by the Roman Road | 298 |
| III. | The Serious Discourse of Clym with His Cousin | 300 |
| IV. | Cheerfulness Again Asserts Itself at Blooms-End, and Clym Finds His Vocation | 304 |
1. What does Egdon Heath symbolize to you? How does each character relate to the heath? To what extent does the landscape control the actions of the characters or influence them? How do the characters resist or succumb to the landscape? What is the role of urban life in the novel?
2. Discuss Clym's spiritual odyssey. How does it shed light on Hardy's concerns in the novel? Would you describe Clym as idealistic? How does his attitude compare to that of the people of Egdon Heath or that of Eustacia?
3. Why does Eustacia hate Egdon Heath? Is she too headstrong? How much control does Eustacia have over events that shape her life? Over the lives of others? Do you think Eustacia symbolizes human limitation or potential? Do you think her death is a reconciliation of sorts, or not?
4. Discuss the role of fate or chance in the novel. Is Hardy sympathetic to the victims of chance in this novel? To what extent are events caused by the force of a character's personality (e. g., Eustacia), rather than by chance? To what extent do actions produce results opposite from that desired? Do you think there is a connection between this use of irony and the role of fate in the novel?
5. Discuss the novel's opening scene, in which Hardy describes Egdon Heath. How does this establish the emotional tone of the book? How does it foreshadow the action within the novel?
6. Why is Eustacia interested in Clym? How does this set the wheels of the plot in motion? How does this affect the other characters, like Thomasin and particularly Clym's mother? What is Wildeve's role in Mrs. Yeobright's fate?
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