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Ruben Salazar
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Ruben Salazar
Born
March 3, 1928
Ciudad Juárez, Mexico
Died
August 29, 1970(1970-08-29) (aged 42)
Los Angeles, California, U.S.
Occupation
Journalist
Years active
1956–1970
Ruben Salazar (March 3, 1928 – August 29, 1970)[1] was a reporter for the Los Angeles Times, the first Mexican-American journalist from mainstream media to cover the Chicano community.[2]
Salazar died during the National Chicano Moratorium March against the Vietnam War on August 29, 1970, in East Los Angeles, California. During the march, Salazar was struck by a tear-gas projectile fired by a Los Angeles County Sheriff's deputy. No criminal charge was filed, but Salazar's family reached an out-of-court financial settlement with the county.[2]
Contents
1 Early life
2 Career
2.1 Support for Chicano movement
3 Death
4 Legacy and honors
5 See also
6 References
7 External links
Early life[edit]
Born in Ciudad Juarez, Mexico, Salazar was brought to the United States with his family in 1929. Salazar began his U.S. naturalization process on October 15, 1947, when he submitted his application for a certificate of arrival and preliminary form for a declaration of intention of citizenship.
Career[edit]
After high school, he served in the U.S. Army for two years. Salazar attended the Texas Western College, graduating in 1954 with a degree in journalism. He obtained a job as an investigative journalist at the now-defunct El Paso Herald-Post; at one point he posed as a vagrant to get arrested while he investigated the poor treatment of prisoners in the El Paso jail. After his tenure at the Herald-Post, Salazar worked at several California newspapers, including the Santa Rosa Press Democrat.[2][3]
Salazar was a news reporter and columnist for the Los Angeles Times from 1959 to 1970.[4] During his career, Salazar became one of the most prominent figures within the Chicano movement. He served as a foreign correspondent in his early years at the Times, covering the 1965 United States occupation of the Dominican Republic, the Vietnam War, and the Tlatelolco massacre (the latter while serving as the Times' bureau chief in Mexico City).
When Salazar returned to the US in 1968, he focused on the Mexican-American community and the Chicano movement, writing about East Los Angeles, an area largely ignored by the media except for coverage of crimes. He became the first Chicano journalist to cover the ethnic group while working in a large general circulation publication. Many of his pieces were critical of the Los Angeles government's treatment of Chicanos, particularly after he came into conflict with police during the East L.A. walkouts.[2] While reporting for the Times, Salazar forged relationships with members of the Chicano movement, including Rosalio Munoz where he reported on Munoz's draft protest.[5]
In January 1970, Salazar left the Times to serve as the news director for the Spanish language television station KMEX in Los Angeles. At KMEX, he investigated allegations of police officers' planting evidence to implicate Chicanos and the July 1970 police shooting of two unarmed Mexican nationals. According to Salazar, he was visited by undercover LAPD detectives who warned him that his investigations were "dangerous in the minds of barrio people."[2]
During Salazar's time as the news director for KMEX, which was a Spanish language station, he became more outspoken on Chicano issues and gave priority to cases that were important to the Chicano Movement. This included the killing of the Sanchez cousins by police which brought forth a community wide protest as well as covering the Chicano Moratorium which ultimately led to his death.[5]
Support for Chicano movement[edit]
Salazar's strong support for the Chicano movement as a Mexican-American distinguished him early on from other journalists in mainstream media. With a strong disparity of racial minorities in news organizations nationwide, Salazar felt it was his personal and professional responsibility to give necessary attention to the actions led by his fellow Chicanos in East Los Angeles. In February 1970, just six months prior to his death, Salazar made his support for the Chicano movement particularly clear when he authored an article in the Los Angeles Times, titled, "Who Is A Chicano? And What Is It the Chicanos Want?" In this piece, Salazar not only describes the evolving identity of Chicanos and the historic importance of the movement, but he details his frustration with the lack of Mexican-American representation among the elected representatives in the Los Angeles city council. Salazar writes, "Mexican-Americans, though large in numbers, are so politically impotent that in Los Angeles, where the country's largest single concentration of Spanish-speaking live, they have no one of their own on the City Council. This in a city politically sophisticated enough to have three Negro council-men."[6]
Due to his support of the Chicano movement, Ruben Salazar became an FBI target and was the subject of an FBI internal subject file. While Salazar was noted as being cooperative during his interactions with the FBI around the investigation of Stokely Carmichael he drew the FBI's attention during the Korean War when he began corresponding with a white female pacifist regarding the loss of his application for US citizenship by the army During his Carmichael interview, he is noted as saying that he could not be a witness to the speech that FBI was referencing as he was not present to which he was then asked to obtain a video of the speech to present to the FBI. While Salazar accepted, he did so under the notion that he would publicize the fact that the FBI was looking for the tape.[7] As they feared the civil unrest this could cause if publicized, the FBI rescinded their request. Due to the fact that the FBI and the LAPD correlated civil unrest with communism, and Salazar reported at many events where civil unrest occurred, he was viewed in his files as a community. While Salazar was in fact critical of the Vietnam War, he was not a communist. LAPD also held files on Salazar specifically due to an article that Salazar wrote about the Chief of Police, Chief Davis, wherein he reported the fact that Davis referred to Mexican "tyranny and dictatorship".[7] While local and national law enforcement were displeased with Salazar's reporting, he continued to write articles advocating the rights of his people- the Chicano community.[7]
Death[edit]
On August 29, 1970, he was covering the National Chicano Moratorium March, organized to protest the Vietnam War, in which some believed that a disproportionate number of Latinos served and were killed. The march ended with a rally that was broken up by the Los Angeles County Sheriff's Department using tear gas. Panic and rioting ensued.[8] A coroner's inquest ruled the shooting of the tear gas canister a homicide, but Tom Wilson, the sheriff's deputy involved, was never prosecuted. At the time, many believed the homicide was a premeditated assassination of a prominent, vocal member of the Los Angeles Chicano community.
The riot started when the owners of the Green Mill liquor store, located around the corner from the Silver Dollar Bar on Whittier Boulevard, called in a complaint about people stealing from them. Deputies responded and a fight broke out. Later on that day, cadets from the nearby Sheriff's Academy were bused to the area and marched into the park. A fight ensued, with the untrained cadets being beaten up. This led to more rioting. The Green Mill liquor store is still located at the same place on Whittier Boulevard. The owners later denied contacting the Sheriff's Department.
Salazar was resting in the Silver Dollar Bar after protest became violent. According to a witness, "Ruben Salazar had just sat down to sip a quiet beer at the bar, away from the madness in the street, when a deputy fired a tear gas projectile" at a crowd which went into the interior of the bar, hitting Salazar in the head and killing him instantly. The sheriff's deputy fired a 10-inch wall-piercing type of tear gas round from a tear gas guns of the type intended for barricade situation, rather than the type of tear gas round designed to be fired directly at people (which produces a plume of tear gas smoke). The deputy was found to have mistakenly loaded the wrong type of tear gas round, as the two types of cylinders were nearly identical.
The story of Salazar's killing was the subject of "Strange Rumblings in Aztlan," a 1971 article by gonzo journalist Hunter S. Thompson for Rolling Stone magazine.[9] On February 22, 2011 the Office of Independent Review released a report of its examination of the Los Angeles Sheriff's Department records on the death of Salazar. After reviewing thousands of documents, the civilian watchdog agency concluded there is no evidence that sheriff's deputies intentionally targeted Salazar or had him under surveillance.[10]
Although sheriff's deputy Thomas Wilson was identified as responsible for Salazar's death, he said that "he did not know, and under the circumstances was not concerned about, what kind of tear gas projectile he fired" at the time.[11] Salazar's death captured the attention of many activists within the Chicano movement as his death occurred at the hands of those whom the movement felt was a large cause of the marginalizing of Chicano communities. During meetings with the district attorney in regards to the incident that led to Salazar's death, many Chicanos attended to voice their support as well as show a united force against police brutality.[5] After several days of testimony, a coroner's jury returned with a split verdict, and no charges were filed by the District Attorney. Nevertheless, three years after Salazar's death, Los Angeles County reached a settlement of $700,000 with Salazar's family as a result of the sheriff's department not using "proper and lawful guidelines for the use of deadly force" during the march. At the time, this was the highest settlement recorded in Los Angeles county history.[citation needed]
Legacy and honors[edit]
A plaque honoring Ruben Salazar mounted in the Globe Lobby of the Los Angeles Times Building in downtown Los Angeles.
Salazar was a two-time winner of the Greater Los Angeles Press Club Award and in 1965 was presented with an award from the Equal Opportunity Foundation.[12][13]
In 1971, Salazar was posthumously awarded a special Robert F. Kennedy Journalism Award.[14]
After the controversy related to his death had subsided, Laguna Park, site of the 1970 rally and subsequent police action, was renamed Salazar Park in his honor.[15]
His death was commemorated in a corrido by Lalo Guerrero entitled "El 29 de Agosto".[16]
A classroom building at California State University, Los Angeles (CSULA) is named for him. On October 12, 2006, the hall was rededicated with the unveiling of his portrait by John Martin.[citation needed]
At Sonoma State University, the former library, now an administration and classroom building, is named for Ruben Salazar, in memory of his work in Sonoma County as a reporter for the Santa Rosa Press Democrat.[citation needed]
On October 5, 2007, the United States Postal Service announced that it would honor five journalists of the 20th century with first-class rate postage stamps, to be issued on Tuesday, April 22, 2008: Martha Gellhorn, John Hersey, George Polk, Ruben Salazar, and Eric Sevareid.[17]
A documentary about Salazar by Phillip Rodriguez entitled Ruben Salazar: Man in the Middle was broadcast on PBS television on 29 April 2014.[18][19]
See also[edit]
Los Angeles portal
Latino and Hispanic American portal
History of the Mexican Americans in Los Angeles
List of journalists killed in the United States
References[edit]
Jump up ^ "NNDB". NNDB.com. Retrieved 2010-04-01.
^ Jump up to: a b c d e Juan Gonzalez (August 31, 2010). "Slain Latino Journalist Rubén Salazar, Killed 40 Years Ago in Police Attack". DemocracyNow.org. Retrieved September 3, 2010.
Jump up ^ Gustavo Reveles Acosta (August 29, 2010). "Ruben Salazar killing left impact on Hispanics, journalism". El Paso Times. Archived from the original on January 10, 2013. Retrieved September 3, 2010.
Jump up ^ Pilar Marrero, "Homenaje al periodista angelino Rubén Salazar," La Opinión Newspaper, 22 April 2008.
^ Jump up to: a b c García, M. T. (2015). The Chicano generation: Testimonios of the movement. University of California Press
Jump up ^ "Who Is A Chicano? And What Is It The Chicanos Want?". Los Angeles Times. February 6, 1970. p. B7.
^ Jump up to: a b c Vigil, E. B. (1999). The crusade for justice: Chicano militancy and the government's war on dissent. The University of Wisconsin Press
Jump up ^ Chavez, Ernesto (2002). Mi Raza Primero! (My People First!): Nationalism, Identity, and Insurgency in the Chicano Movement in Los Angeles, 1966-1978. University of California Press. p. 70.
Jump up ^ Perry, Paul (2004). Fear and Loathing: The Strange and Terrible Saga of Hunter S. Thompson. Thunder's Mouth Press. pp. 153–54. ISBN 1-56025-605-2.
Jump up ^ Robert J. Lopez (February 19, 2011). "No evidence Ruben Salazar was targeted in killing, report says". Los Angeles Times. Retrieved 2011-02-20.
Jump up ^ Dave Smith and Paul Houston, "Deputy Says He Did Not Know Kind of Missile," Los Angeles Times, October 6, 1970.
Jump up ^ "Three Times Reporters Win Awards". Los Angeles Times. June 25, 1965. p. A8.
Jump up ^ "Times Assigns Second Reporter to Vietnam". Los Angeles Times. August 8, 1965. p. A1.
Jump up ^ Notable Latino Americans: a biographical dictionary by Matt S. Meier, Conchita Franco Serri, Richard A. Garcia. Greenwood Press, 1997 ISBN 0-313-29105-5
Jump up ^ Laura Pulido; Laura Barraclough; Wendy Cheng (2012). A People's Guide to Los Angeles. Berkeley: University of California Press. p. 4. ISBN 9780520270817.
Jump up ^ Radio station KPCC
Jump up ^ Sheryl Kornman (September 28, 2007). "UA educator succeeds in getting stamp for Hispanic journalist". Tucson Citizen. Retrieved September 3, 2010.
Jump up ^ Documentary on Life, Not Death, of Ruben Salazar ABC News, 2014-04-29.
Jump up ^ Ruben Salazar: Man in the Middle PBS, 2014-04-29.
External links[edit]
Mario T. Garcia, ed., Ruben Salazar: Border Correspondent; Selected Writings, 1955-1970 (University of California Press, 1995).
Stamp of Salazar issued by the USPS
Salazar Remembered as Champion of Chicano Rights - video report by Democracy Now!
Ruben Salazar Collection at Sonoma State University Library
Ruben Salazar: Man in the Middle (documentary film)
Los Angeles Times articles about Salazar
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Counting sheep
From Wikipedia, the free encyclopedia
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"Counting Sheep" redirects here. For the Collin Raye album, see Counting Sheep (album). For the Lower Than Atlantis song, see Changing Tune.
This article is about Counting sheep as a mental exercise. For for counting or enumeration systems used by shepherds, see Yan Tan Tethera.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010) (Learn how and when to remove this template message)
Sheep on a paddock
Counting sheep is a mental exercise used in some cultures as a means of putting oneself to sleep.
In most depictions of the activity, the practitioner envisions an endless series of identical white sheep jumping over a fence, while counting them as they do so. The idea, presumably, is to induce boredom while occupying the mind with something simple, repetitive, and rhythmic, all of which are known to help humans sleep.
Although the practice is largely a stereotype, and rarely used as a solution for insomnia, it has been so commonly referenced by cartoons, comic strips, and other mass media, that it has become deeply engrained into popular culture's notion of sleep. The term "counting sheep" has entered the English language as an idiomatic term for insomnia. Sheep themselves have become associated with sleep, or lack thereof.
The effectiveness of the method may depend upon the mental power required. An experiment conducted by researchers at Oxford University, though not involving livestock as the object of visualization, found that subjects who imagined "a beach or a waterfall" were forced to expend more mental energy, and fell asleep faster, than those asked to "simply distract from thoughts, worries and concerns." [1] Sleep could be achieved by any number of complex activities that expend mental energy.
An early reference to counting sheep as a means of attaining sleep can be found in Illustrations of Political Economy by Harriet Martineau, from 1832:
"It was a sight of monotony to behold one sheep after another follow the adventurous one, each in turn placing its fore-feet on the breach in the fence, bringing up its hind legs after it, looking around for an instant from the summit, and then making the plunge into the dry ditch, tufted with locks of wool. The process might have been more composing if the field might have been another man's property, or if the flock had making its way out instead of in; but the recollection of the scene of transit served to send the landowner to sleep more than once, when occurring at the end of the train of anxious thoughts which had kept him awake." (p. 355–356)
An even earlier reference can be found in "Don Quixote" by Miguel de Cervantes, from 1605 (the exception being Cervantes substituting "goats" for "sheep"):
"Let your worship keep count of the goats the fisherman is taking across, for if one escapes the memory there will be an end of the story, and it will be impossible to tell another word of it."
Cervantes probably adapted the story of counting goats from a story of counting sheep in the early twelfth-century Spanish work Disciplina Clericalis. The section The King and his Story-teller (section 12) uses the idea of counting sheep humorously.[2] Disciplina Clericalis draws mainly on literary sources from the Islamic world. Counting sheep was probably a widely recognized practice in the Islamic world before the early twelfth century.
In pop culture[edit]
Serta, an American mattress manufacturer has had their own herd of "Counting Sheep" used in advertisements for the company since at least 2000 and have even sold plush toys of the sheep.
Shaun the Sheep entitled its 2012 series "Championsheeps" to celebrate the London Olympics. The episode "Steeplechase" featured Shaun and his fellow sheep participating in the steeplechase event. Blitzer the dog, who was referee, and the other sheep and farm animals, who were spectators, all fall asleep watching Shaun and the other sheep running around the track and jumping over the hurdles.
Toolkit7 added sheep counter[3] to their fun tools section. There are also many sheep counting applications for mobile phones and games for consoles.
See also[edit]
Count Your Sheep, an online comic inspired by counting sheep
Yan Tan Tethera
Black sheep
References[edit]
Jump up ^ Harvey, Allison G., and Suzanna Payne. 2002. “The management of unwanted pre-sleep thoughts in insomnia: distraction with imagery versus general distraction.” Behaviour Research and Therapy. 40 (3): 267-277.
Jump up ^ Ancient origins of counting sheep to fall asleep
Jump up ^ Count Sheep Online
P. Martin (2005), Counting sheep: the science and pleasures of sleep and dreams, St. Martin's Griffin
http://www.online-literature.com/view.php/don_quixote/24?term=how%20many%20goats
Retrieved from "https://en.wikipedia.org/w/index.php?title=Counting_sheep&oldid=794927834"
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Far from the Madding Crowd
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Far from the Madding Crowd (disambiguation).
Far from the Madding Crowd
The title page from an 1874 first edition of Far from the Madding Crowd.
Author
Thomas Hardy
Country
England
Language
English
Genre
Novel
Publisher
Cornhill Magazine
Publication date
1874
Pages
464 pages (Harper & Brothers edition, 1912)
Preceded by
A Pair of Blue Eyes
Followed by
The Hand of Ethelberta
Far from the Madding Crowd (1874) is Thomas Hardy's fourth novel and his first major literary success. It originally appeared anonymously as a monthly serial in Cornhill Magazine, where it gained a wide readership.
The novel is the first to be set in Hardy's fictional region of Wessex in rural south west England. It deals in themes of love, honour and betrayal, against a backdrop of the seemingly idyllic, but often harsh, realities of a farming community in Victorian England. It describes the farmer Bathsheba Everdene, her life and relationships—especially with her lonely neighbour William Boldwood, the faithful shepherd Gabriel Oak, and the thriftless soldier Sergeant Troy.
On publication, critical notices were plentiful and mostly positive. Hardy revised the text extensively for the 1895 edition and made further changes for the 1901 edition.[1]
The novel was listed at number 48 on the BBC's survey The Big Read in 2003. The book finished 10th on The Guardian's list of greatest love stories of all time in 2007.
The novel has been dramatised several times, notably in the Oscar-nominated 1967 film directed by John Schlesinger.
Contents
[hide]
1 Plot
1.1 Bathsheba's valentine to Boldwood
1.2 Sergeant Troy returns
1.3 Fanny Robin
1.4 Climax
1.5 Ending
2 Title
3 Hardy's Wessex
4 Honours
5 Adaptations
5.1 Radio
5.2 Comics
5.3 Film
5.4 Stage productions
5.4.1 Dance
5.4.2 Musical
5.4.3 Opera
5.4.4 Plays
5.5 Other
6 References in popular culture
6.1 Anime
6.2 Music
7 References
8 External links
Plot[edit]
Gabriel Oak is a young shepherd. With the savings of a frugal life, and a loan, he has leased and stocked a sheep farm. He falls in love with a newcomer six years his junior, Bathsheba Everdene, a proud beauty who arrives to live with her aunt, Mrs. Hurst. Over time, Bathsheba and Gabriel grow to like each other well enough, and Bathsheba even saves his life once. However, when he makes her an unadorned offer of marriage, she refuses; she values her independence too much, and him too little. Feeling betrayed and embarrassed, Gabriel offers blunt protestations that only foster her haughtiness. After a few days, she moves to Weatherbury, a village some miles off.
When next they meet, their circumstances have changed drastically. An inexperienced new sheepdog drives Gabriel's flock over a cliff, ruining him. After selling off everything of value, he manages to settle all his debts but emerges penniless. He seeks employment at a hiring fair in the town of Casterbridge. When he finds none, he heads to another such fair in Shottsford, a town about ten miles from Weatherbury. On the way, he happens upon a dangerous fire on a farm and leads the bystanders in putting it out. When the veiled owner comes to thank him, he asks if she needs a shepherd. She uncovers her face and reveals herself to be none other than Bathsheba. She has recently inherited her uncle's estate and is now wealthy. Though somewhat uncomfortable, she employs him.
Bathsheba's valentine to Boldwood[edit]
Meanwhile, Bathsheba has a new admirer: the lonely and repressed William Boldwood. Boldwood is a prosperous farmer of about forty, whose ardour Bathsheba unwittingly awakens when – her curiosity piqued because he has never bestowed on her the customary admiring glance – she playfully sends him a valentine sealed with red wax on which she has embossed the words, "Marry me". Boldwood, not realising the valentine was a jest, becomes obsessed with Bathsheba and soon proposes marriage. Although she does not love him, she toys with the idea of accepting his offer; he is, after all, the most eligible bachelor in the district. However, she postpones giving him a definite answer. When Gabriel rebukes her for her thoughtlessness regarding Boldwood, she dismisses him.
When Bathsheba's sheep begin dying from bloat, she discovers to her chagrin that Gabriel is the only man who knows how to cure them. Her pride delays the inevitable, but finally she is forced to beg him for help. Afterwards, she offers him back his job and their friendship is restored.
Sergeant Troy returns[edit]
"She took up her position as directed." Troy courts Bathsheba; Cornhill illustration by Helen Paterson Allingham
At this point, the dashing Sergeant Francis "Frank" Troy returns to his native Weatherbury and by chance encounters Bathsheba one night. Her initial dislike turns to infatuation after he excites her with a private display of swordsmanship. Gabriel observes Bathsheba's interest in the young soldier and tries to discourage it, telling her she would be better off marrying Boldwood. Boldwood becomes aggressive towards Troy, and Bathsheba goes to Bath to prevent Troy returning to Weatherbury, as she fears Troy may be harmed on meeting Boldwood. On their return, Boldwood offers his rival a large bribe to give up Bathsheba. Troy pretends to consider the offer, then scornfully announces they are already married. Boldwood withdraws, humiliated, and vows revenge.
Bathsheba soon discovers that her new husband is an improvident gambler with little interest in farming. Worse, she begins to suspect he does not love her. In fact, Troy's heart belongs to her former servant, Fanny Robin. Before meeting Bathsheba, Troy had promised to marry Fanny; on the wedding day, however, the luckless girl went to the wrong church. She explained her mistake, but Troy, humiliated at being left at the altar, angrily called off the wedding. When they parted, unbeknownst to Troy, Fanny was pregnant with his child.
Fanny Robin[edit]
Fanny Robin on her way to the Casterbridge workhouse. Cornhill illustration by Helen Paterson Allingham
Some months later, Troy and Bathsheba encounter Fanny on the road, destitute, as she painfully makes her way toward the Casterbridge workhouse. Troy sends his wife onward with the horse and gig before she can recognise the girl, then gives Fanny all the money in his pocket, telling her he will give her more in a few days. Fanny uses up the last of her strength to reach her destination. A few hours later, she dies in childbirth, along with the baby. Mother and child are then placed in a coffin and sent home to Weatherbury for interment. Gabriel, who has long known of Troy's relationship with Fanny, tries to conceal the child's existence – but Bathsheba agrees that the coffin can be left in her house overnight, from her sense of duty towards a former servant of the household.[2] Her new servant, Liddy, repeats the rumour that Fanny had a child; when all the servants are in bed, Bathsheba unscrews the lid and sees the two bodies inside.
Troy then comes home from Casterbridge, where he had gone to keep his appointment with Fanny. Seeing the reason for her failure to meet him, he gently kisses the corpse and tells the anguished Bathsheba, "This woman is more to me, dead as she is, than ever you were, or are, or can be". The next day he spends all his money on a marble tombstone with the inscription: "Erected by Francis Troy in beloved memory of Fanny Robin ..." Then, loathing himself and unable to bear Bathsheba's company, he leaves. After a long walk he bathes in the sea, leaving his clothes on the beach. A strong current carries him away, but he is rescued by a rowing boat.
Climax[edit]
A year later, with Troy presumed drowned, Boldwood renews his suit. Burdened with guilt over the pain she has caused him, Bathsheba reluctantly consents to marry him in six years, long enough to have Troy declared dead.
Troy, however, is not dead. When he learns that Boldwood is again courting Bathsheba, he returns to Weatherbury on Christmas Eve to claim his wife. He goes to Boldwood's house, where a party is under way, and orders Bathsheba to come with him; when she shrinks back in surprise, he seizes her arm, and she screams. At this, Boldwood shoots Troy dead and tries unsuccessfully to turn the gun on himself. Although Boldwood is condemned to hang for murder, his friends petition the Home Secretary for mercy, citing insanity. This is granted, and Boldwood's sentence is changed to "confinement during Her Majesty's pleasure". Bathsheba, profoundly chastened by guilt and grief, buries her husband in the same grave as Fanny and the child, and adds a suitable inscription.
Ending[edit]
Throughout her tribulations, Bathsheba comes to rely increasingly on her oldest and, as she admits to herself, only real friend, Gabriel. When he gives notice that he is leaving her employ, she realises how important he has become to her well-being. That night, she goes alone to visit him in his cottage, to find out why he is deserting her. Pressed, he reluctantly reveals that it is because people have been injuring her good name by gossiping that he wants to marry her. She exclaims that it is "... too absurd – too soon – to think of, by far!" He bitterly agrees that it is absurd, but when she corrects him, saying that it is only "too soon", he is emboldened to ask once again for her hand in marriage. She accepts, and the two are quietly wed.
Title[edit]
Hardy took the title from Thomas Gray's poem Elegy Written in a Country Churchyard (1751).
Far from the madding crowd's ignoble strife
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenor of their way.
"Madding" here means "frenzied".[3]
Lucasta Miller points out that the title is an ironic literary joke as Gray is idealising the noiselessness and sequestered calm whereas Hardy "disrupts the idyll, and not just by introducing the sound and fury of an extreme plot ... he is out to subvert his readers' complacency".[4]
Hardy's Wessex[edit]
Far from the Madding Crowd offers in ample measure the details of English rural life that Hardy so relished.[5]
Weatherbury Church (Puddletown)
Hardy first employed the term "Wessex" in Far from the Madding Crowd to describe the "partly real, partly dream-country" that unifies his novels of South West England. He found the word in the pages of early English history as a designation for an extinct, pre-Norman conquest kingdom, the Wessex from which Alfred the Great established England.[6] In the first edition, the word "Wessex" is used only once, in chapter 50; Hardy extended the reference for the 1895 edition.[7] The village of Puddletown, near Dorchester, is the inspiration for the novel's Weatherbury. Dorchester, in turn, inspired Hardy's Casterbridge.[8]
In The Mayor of Casterbridge, Hardy briefly mentions two characters from Far from the Madding Crowd – Farmer Everdene and Farmer Boldwood, both in happier days.
Honours[edit]
In 2003, the novel was listed at number 48 on the BBC's survey The Big Read.[9] In 2007, the book finished 10th on the Guardian's list of greatest love stories of all time.[10]
Adaptations[edit]
Radio[edit]
The novel was adapted by Graham White in 2012 into a three-part series on BBC Radio 4's Classic Serial. The production was directed by Jessica Dromgoole and featured Alex Tregear as Bathsheba, Shaun Dooley as Gabriel, Toby Jones as Boldwood and Patrick Kennedy as Troy.
Comics[edit]
Tamara Drewe is a comic strip serial based upon a modern reworking of the novel by Posy Simmonds. It was itself adapted into a film, Tamara Drewe (2010), directed by Stephen Frears.
Film[edit]
Far from the Madding Crowd (1915) directed by Laurence Trimble, starring Florence Turner and Henry Edwards.
Far from the Madding Crowd (1967) directed by John Schlesinger, starring Julie Christie as Bathsheba Everdene, Terence Stamp as Sergeant Troy, Peter Finch as Mr Boldwood, and Alan Bates as Farmer Oak.
Far from the Madding Crowd (1998) directed by Nicholas Renton, starring Paloma Baeza, Nathaniel Parker, Jonathan Firth and Nigel Terry.
Far from the Madding Crowd (2015) directed by Thomas Vinterberg, screenplay by David Nicholls, with Carey Mulligan as Bathsheba Everdene, Matthias Schoenaerts as Farmer Oak, Michael Sheen as Mr Boldwood, Tom Sturridge as Sergeant Troy and Juno Temple as Fanny Robin.[11][12]
Stage productions[edit]
Dance[edit]
Far from the Madding Crowd (1996) is a ballet by David Bintley for the Birmingham Royal Ballet[citation needed]
Musical[edit]
Far from the Madding Crowd (2000), a musical with music by Gary Schocker, based on the novel
Opera[edit]
Far from the Madding Crowd (2006) is an opera by Andrew Downes
Plays[edit]
Hardy wrote an 1882 stage adaptation with J. Comyns Carr, which starred Marion Terry
In autumn 2008, English Touring Theatre (ETT) toured Britain with a new stage adaptation of Far from the Madding Crowd directed by Kate Saxon[13]
In March 2013 Myriad Theatre & Film toured South-East England with their original stage adaptation of Far from the Madding Crowd for five actors. The show also incorporated some of Hardy's poetry.
Other[edit]
In October 2016, the first episode of a web series transmedia modernisation of the novel, Away from it All, was released.[14] Based around the antics and video blogs of a group of twenty-somethings working at a village pub, the series was created by Hazel Jeffs.
References in popular culture[edit]
Anime[edit]
Episode 20 of the anime Kill la Kill, is titled "Far from the Madding Crowd".
Music[edit]
British musician Nick Bracegirdle, better known as Chicane, released Far from the Maddening Crowds, a studio album, in 1997.
In 2000, the New York rock band Nine Days titled their debut The Madding Crowd to express their allegiance to modernity in opposition to Hardy.[15]
The Danish metal band Wuthering Heights released a studio album, Far From the Madding Crowd in 2004.
Nanci Griffith included the lyric "You're a Saturday night, Far from the madding crowd" in the song On Grafton Street on her 1994 release Flyer.
References[edit]
Jump up ^ Page, Norman, ed. (2000). Oxford Reader's Companion to Hardy. Oxford: Oxford University Press. pp. 130–132.
Jump up ^ Higonnet, Margaret R., ed. (1992). Feminist essays on Hardy : the Janus face of gender. Urbana: University of Illinois Press. p. 59. ISBN 0252019407.
Jump up ^ "Madding". The American Heritage Dictionary of the English Language (4th ed.).
Jump up ^ Miller, Lucasta (25 April 2015). "Far from the Madding Crowd, Does the film live up to Hardy's novel". Guardian Review Section. Retrieved 3 May 2015.
Jump up ^ Drabble, Margaret (1979). A Writer's Britain: Landscape in Literature. Thames and Hudson. pp. 91–8.
Jump up ^ Hardy, Thomas. Far From the Madding Crowd: Preface, 1895–1902.
Jump up ^ Oxford Reader's Companion to Hardy, ibid., p. 131.
Jump up ^ Anonymous. Far from the Madding Crowd (caption to frontispiece). New York and London: Harper and Brothers Publications, 1912.
Jump up ^ "BBC – The Big Read". BBC. April 2003, Retrieved 31 October 2012
Jump up ^ Wainwright, Martin (10 August 2007). "Emily Brontë hits the heights in poll to find greatest love story". The Guardian. Retrieved 29 August 2009.
Jump up ^ Kemp, Stuart (18 May 2008). "BBC Films has diverse slate". The Hollywood Reporter. Retrieved 18 May 2008.
Jump up ^ Fleming, Mike (16 September 2013). "Searchlight Rounds Out ‘Madding’ Cast With Michael Sheen, Juno Temple". Deadline.com. PMC. Retrieved 23 December 2013.
Jump up ^ Mahoney, Elisabeth (2008-09-17). "Far from the Madding Crowd". The Guardian. ISSN 0261-3077.
Jump up ^ Muddled Thoughts & a Sunset. YouTube. 20 October 2016. Retrieved 1 October 2016.
Jump up ^ "The Madding Crowd". Allmusic.com.
External links[edit]
Wikisource has original text related to this article:
Far from the Madding Crowd
Far from the Madding Crowd at Project Gutenberg
Far from the Madding Crowd public domain audiobook at LibriVox
Helen Paterson Allingham's illustrations for the serial edition, with extensive commentary, from Victorian Web.
Far From the Madding Crowd Map
Far from the Madding Crowd on The Literature Network
[show]
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Thomas Hardy
Novels
The Poor Man and the Lady (1867)
Desperate Remedies (1871)
Under the Greenwood Tree (1872)
A Pair of Blue Eyes (1873)
Far from the Madding Crowd (1874)
The Hand of Ethelberta (1876)
The Return of the Native (1878)
The Trumpet-Major (1880)
A Laodicean (1881)
Two on a Tower (1882)
The Mayor of Casterbridge (1886)
The Woodlanders (1887)
Tess of the d'Urbervilles (1891/92)
Jude the Obscure (1895)
The Well-Beloved (1897)
Short story collections
Wessex Tales (1888)
A Group of Noble Dames (1891)
Life's Little Ironies (1894)
A Changed Man and Other Tales (1913)
Short stories
"The Three Strangers" (1883)
"A Mere Interlude" (1885)
"Alicia's Diary" (1887)
"Barbara of the House of Grebe" (1891)
"The Fiddler of the Reels" (1893)
"A Tragedy of Two Ambitions" (1894)
Poetry collections
Wessex Poems and Other Verses (1898)
Poems of the Past and the Present (1901)
Time's Laughingstocks (1909)
Poems 1912–13
Satires of Circumstance (1914)
Moments of Vision (1917)
Late Lyrics (1922)
Human Shows (1925)
Winter Words (1928)
Poems
"Neutral Tones" (1898)
"The Darkling Thrush" (1901)
"The Ruined Maid" (1901)
"The Respectable Burgher" (1901)
"The Man He Killed" (1902)
"A Trampwoman's Tragedy" (1903)
"The Convergence of the Twain" (1915)
"The Blinded Bird" (1916)
Plays
The Dynasts (1904–1908)
Related
Thomas Hardy's Wessex
Egdon Heath
Life
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Max Gate home
Emma Gifford (first wife)
Florence Dugdale (second wife)
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Thomas Hardy's Far from the Madding Crowd (1874)
Adaptations
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1967 film
1998 TV miniseries
2015 film
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Tamara Drewe (film)
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