Nella persona di un misterioso barone, ricchissimo, potentissimo, infelice - che piomba improvviso sulla vita pigra della campagna inglese - il caso si incapriccia di una giovane lattaia, la innalza a un'altezza per lei vertiginosa, e poi la lascia ricadere. Il caso («piccole ironie della vita», lo chiamava Thomas Hardy, e nelle sue storie ne seguiva il solco attraverso esistenze altrimenti incapaci di lasciare il segno) che rende memorabile un momento, ma tanto più immemore e banale il resto della vita, conduce Margery a incontrare un uomo affascinante vicino a un gesto irreparabile, a salvarlo, e a ricevere in cambio, per la gratitudine di lui, la possibilità di vivere una giornata diversa dal solito. Margery è promessa sposa di un giovane a modo, e il piccolo evento, romantica avventura solo per il cuore ingenuo e favoloso della fanciulla, si trasmette in cerchi concentrici, di equivoci e di intrico, e sconvolge la rete dei rapporti e delle attese di tutto un villaggio. E nel lieto fine, cioè nel rimettersi di tutte le forze a posto perché il caso è tornato nel suo sonno indecifrabile, è la filosofia malinconica e il pessimismo di Hardy: nulla sarebbero state quelle vite se Margery non avesse afferrato il suo istante di felicità; ma la felicità è luce troppo intensa per non annullare nell'ombra quelle vite.
Thomas Hardy, OM, was an English author of the naturalist movement, although in several poems he displays elements of the previous romantic and enlightenment periods of literature, such as his fascination with the supernatural. He regarded himself primarily as a poet and composed novels mainly for financial gain.
The bulk of his work, set mainly in the semi-fictional land of Wessex, delineates characters struggling against their passions and circumstances. Hardy's poetry, first published in his 50s, has come to be as well regarded as his novels, especially after The Movement of the 1950s and 1960s.
The term cliffhanger is considered to have originated with Thomas Hardy's serial novel A Pair of Blue Eyes in 1873. In the novel, Hardy chose to leave one of his protagonists, Knight, literally hanging off a cliff staring into the stony eyes of a trilobite embedded in the rock that has been dead for millions of years. This became the archetypal — and literal — cliff-hanger of Victorian prose.
Pubblicato per la prima volta nel 1883 da Thomas Hardy [1840-1928], questo romanzo racconta, con la prosa fluida e accattivante che contraddistingue l’opera letteraria di questo scrittore inglese, quello che il titolo così esplicitamente semplifica: la giovane Margery una bella ragazza, genuina figlia della campagna inglese, a seguito di un evento fortuito, entra nella simpatia e negli affetti di un barone tedesco, scatenando così una serie di eventi che se da una parte la emanciperanno, dall’altra metteranno in discussione le scelte della sua vita che fino a quel momento sembravano decise e accettate senza tentennamenti. Romanzo dalla lettura spedita, affascinante e romantico senza sconfinare nella banalità e nella leziosità e intriso di una filosofia semplice e condivisibile.
Margery happened upon a strange nobleman at just the moment to calm him from suicidal thoughts. Out of gratitude for this act of kindness, he offered her any gift she would like, and she asked him to take her to a ball. She seemed very sweet at first, but I progressively liked her less as her tepid feelings toward her fiancé, a good man who loved her dearly, became evident. The nobleman took a strong interest in the couple, but his actions only drove a deeper wedge between the two. I was surprised at the ending, because a couple of reviewers said it was not the ending they would have chosen; but it is the one I had hoped for. First published in 1865, I listened to this as a free download from LibriVox.org.
A poor milkmaid happens upon a well to do gentleman who is about to commit suicide. He promises her one wish when she stops him from killing himself. Like Cinderella, she wants to attend a ball. The Baron buys her clothes, teaches her to dance and escorts her to the ball, burning all her finery after it is over. What he doesn’t know is that she already has a fiancée and that night will alter their lives forever.
In un nebuloso mattino di primavera, immersa nel silenzio dell'alba, l'agile figura di una donna, avvolta in uno scialle, percorre la valle dell'Exe, affrettandosi tra i campi con un paniere al braccio. È con questa immagine, semplice ma pregna delle tipiche suggestioni della campagna inglese, che Hardy ci catapulta ancora una volta nel bel mezzo del suo amato Wessex, per raccontarci la favola di una giovane lattaia alle prese con un incontro che, inaspettatamente, sconvolgerà la sua vita. L'aura fiabesca, in realtà, permea un po'tutto il libro: l'espediente narrativo della vicenda tramandata oralmente, il tenue romanticismo dell'intreccio, e una serie di altre circostanze, conferiscono infatti al racconto tutto il sapore delle antiche leggende della tradizione anglosassone, con le inconfondibili atmosfere e la bellezza genuina e un po'misteriosa dell'ambientazione campestre. Margery, questo il nome della protagonista, sembra proprio il tipico personaggio uscito da una di quelle vecchie ballate che, al suono del violino e della cornamusa, allietavano una volta le feste di campagna; quelle stesse ballate su cui proprio lei, in segreto, impara i passi di danza, nell'attesa che un affascinante cavaliere venuto da lontano, la sottragga alla sua vita quotidiana, per condurla al gran ballo, o in mancanza di meglio, almeno al ballo locale dei cavalieri rurali.
C'è tanto, nella romantica Margery, delle più tipiche eroine uscite dalla penna di Hardy: l'ingenuità, la semplicità, e quel pizzico di vanità che guida troppo spesso le più sconsiderate azioni umane; ma prima ancora di ciò, nel suo personaggio, si ravvisa il tratto comune a tutta una categoria di figure femminili letterarie (e non solo) che, assuefatte alla routine di un'esistenza di lavoro e vita domestica, e imprigionate, sia pure idealmente, entro un nido confortevole ma soffocante, si scoprono insoddisfatte e desiderose di qualcosa di più, sia esso l'amore, l'esperienza del mondo, o perché no, anche una semplice avventura fuori dall'ordinario. Ciò che Margery però non sa è che, come in ogni romanzo hardiano che si rispetti, anche per lei, all'improvviso, arriverà il momento dell'incontro inevitabile col più pericoloso e beffardo degli sconosciuti: il destino. E proprio il fato, vestendo i panni di un misterioso barone dal passato oscuro, offrirà alla ragazza la via di fuga dalla monotonia quotidiana, trasformandola in una novella Cenerentola, con tanto di abito e carrozza, e dandole finalmente la possibilità di realizzare i propri sogni... almeno fino allo scoccare della mezzanotte (o poco più tardi). Come in tutte le favole, però, anche in quella di Margery l'incanto prima o poi è destinato a svanire, e l'ignara fanciulla, suo malgrado, sarà costretta a fare i conti con la realtà, con la portata delle proprie ambizioni e, incidentalmente, anche con un impaziente ma assai determinato fidanzato, che di farsi da parte non ha proprio nessuna intenzione.
Intessendo una trama lieve ma, nonostante la brevità, densa di equivoci e colpi di scena, la penna dello scrittore, questa volta insolitamente magnanima, riesce a regalarci, al termine di tante peripezie, perfino un insperato lieto fine. Eppure, sarà paradossale, ma nei romanzi di Hardy, un epilogo lieto lascia forse ancor più amarezza dei suoi proverbiali finali tragici... Probabilmente perché, dietro la facciata di convenzionale felicità, torna a farsi sentire l'irrisolto dilemma di austeniana memoria: ragione o sentimento? Come dire: è preferibile la sicurezza di una vita mediocre e priva di emozioni o la pericolosa instabilità di un'esistenza all'insegna della passione? Un dilemma che, probabilmente, i personaggi di questo racconto non tentano neppure di risolvere, mentre sulle ultime pagine si allunga lo spettro di quelle tipiche scelte umane in cui a volte, anche nella realtà dei giorni nostri, è difficile distinguere il più responsabile coraggio dalla più stolta codardia. E al termine della lettura resta il dubbio che, forse, quella conclusione dolce-amara, paia tanto più insoddisfacente semplicemente perché tanto più simile alla vita reale.
This novella was left out of my edition of Hardy’s short story collection: A Changed Man and Other Stories. Overall, this one felt of similar quality to those stories- not top-notch Hardy. This one did have the advantage of giving Hardy the time to develop more plot twists and characterization. This story involves the titled milkmaid, Margery, and her romantic triangle with a German Baron who takes up residence nearby and her long-time suitor, Jim. a lime merchant/farmer. Margery does the Baron a service, he provides one in return; attachments of different types develop and Jim, who is persistent and resourceful, responds and eventually there is a not overly tragic result. The setting, events and plot twist were all very creative and quite interesting. There is a lighter tone to the narration as Hardy is not trying to make some great societal statement. The core problem I had in appreciating the story was that I still felt unable to relate to the milkmaid and was always unsure of her true character and feelings. For a story that advertises it in the title, I also saw little romantic feelings exhibited by the three participants. Even Jim was more motivated by practical feelings than any great emotional feeling. However, the two male characters were actually fairly interesting creations, but they weren’t the central character; Margery is. It is hard to care about an outcome to a romantic triangle when you can’t empathize with the central protagonist. I rate it as 3.7 rounded up to 4 stars because of the creativity and writing. Out of the 3 books I was reading, it was still the one I most looked forward to reading.
È in assoluto il primo romanzo di Hardy che leggo. Volevo approcciarmi al suo stile con un romanzo breve e ho provato con questo. Mi è piaciuto e sicuramente leggerò gli altri. Romanzo brevissimo ma denso d’avvenimenti, scritto bene e molto scorrevole. Ci sono tutti gli elementi per renderlo interessante: un ricco e misterioso barone, von Xaten, la lattaia Margery Tucker e il terzo incomodo tra loro Jim, il fidanzato di Margery, il tutto sullo sfondo di una campagna inglese descritta magnificamente. Grazie alle bellissime descrizioni si viene coinvolti nella trama; sembra sempre che stia per realizzarsi qualcosa, qualcosa che risolva il triangolo, che alla fine la felicità venga raggiunta ma... amaramente viene solo sfiorata.
A different ending from what you'd expect. I was expecting Margery to run off with Baron Xanter. However, she actually settled down with Jim. I felt very sad about the Baron's death. He was such an interesting character and I wish I'd gotten to know more about him. However, the absolute control he had over Margery was pretty disconcerting. Overall, good book.
This entire review has been hidden because of spoilers.
With its lightness of tone and ridiculous plot this novella is much more in keeping with his short stories than his novels, and indeed I believe it is classed among his short stories. But as such, it is far too long! The interesting and amusing aspects of the story could have been all the more attractive in a shorter, more condensed tale. I had never heard of this story before until it popped up on Project Gutenburg. I wonder if he wrote something insubstantial of this length at the request of a publisher or editor.
Incidentally, I think it's the kind of story that reads differently to a modern readership, who hopes the heroine will run away from what is essentially an arranged marriage, whereas the more old-fashioned view would be that she should seize any decent offer on the table.
This short story was recommended to me by a sweet volunteer woman at Hardy's cottage, which I had the pleasure of visiting this past summer. What an interesting story. It felt almost gothic at times, while the setting and prose were still decidedly Hardy. While there was nothing very noteworthy in this story - it read like a fairytale with no great theme or moral lesson - I still very much enjoyed the chance it gave me to revisit Hardy country for an afternoon.
The story is somewhat less likable. I don’t particularly admire any of the characters—-
And yet, I do feel sympathy for them. They’re all liars and fools and driven by selfish desires, but then, they also ultimately do show compassion and love towards others... albeit mixed with self-interestedness.
Their love isn’t full, barely is it love at all, but there does seem to be shards of love in these characters, small, but there.
I was told that no work if Thomas Hardy other than ‘Far from the Madding Crowd’ has a happy ending. That remains true for this novel as well. It is a half-happy ending. It is a good read, nevertheless.
3.5 stars I stumbled upon this novella randomly. I really enjoyed the beginning but the ending felt quite abrupt. It was what I supposed it to be but it was not quite what I had hoped for. Still, I cannot say that I did not like it. I knew that the ending would be tragic and I expected something truly dreadful to happen. I would have been satisfied if it had a pleasant conclusion or something really tragic had happened. Now, I am left with an incompleteness because neither of it happened. I feel like crying because the baron committed suicide but then I cannot because after all Margery and Jim lead a happy life later on as they had meant to. If Margery had lived in melancholy after everything, I would have cried and then, I would have felt relieved. Neither can I be perfectly happy nor can I be in the depths of melancholy.
Furthermore, I just realised that the first review I wrote this year was for a Thomas Hardy novel- “Far From The Madding Crowd” and my last review was for this book- another Thomas Hardy novel/ novella.
This entire review has been hidden because of spoilers.
I read this short story in a collection a few years ago, but I remembered very little of it on this second reading.
That's not to say it's not memorable. This is a cleverly-crafted tale, featuring themes one expects to find in a Hardy tale, such as humour, amazing coincidences, and, of course, tragedy.
I liked the story on the whole, and the characters were all believable, with the milkmaid herself being my favourite.
Oddly, Hardy captures the silliness of courtship that exists even today. The poor little milkmaid dates above her status and wants something more. The guy on the other hand had no interest other than being polite. She covets that which she should never have had in the first place and as a result is unhappy with a perfectly happy life.
The matter becomes increasingly complicated as her inner desire is for something that is truly not real. The more unrequited her affection for poor Jim, the more he shows desperate interest in winning her. The poor sap who stole her heart - or at the very least - her lustful desires for material possessions and worldliness tries to help her in her happiness. The kiss is an interesting addition to the plot. You get the sense that Mr. X is really trying not to fall down a particular path, but just can barely help himself.
A little depressing that to win her back, Jim goes trotting after some other woman. This is a bad message to send. But I can see how that can be totally romantic and effective. Personally, that is not my deal, but there is a certain childlike romance to it.
I had not heard of this novella by Thomas Hardy until my friend, Kevin, recommended it. In the past, I have delighted in reading some of Hardy's more famous works, especially Tess of the d'Urbervilles. The eponymous milkmaid, Margery, encounters a mysterious foreigner and perhaps prevents him from committing suicide. In gratitude, the man offers her any reward she can name. She tells him she wants to go to a ball. Reluctantly, he agrees and secretly whisks her off to a yeoman's ball in the neighboring county. From that night, the strange baron has an inexplicable hold over Margery, which adversely affects her previous engagement to one of the village lads. The romantic and gothic overtones of the story remind me of Louisa May Alcott's novel, A Long Fatal Love Chase.
This may be a precursor to Hardy's masterpiece Tess of the D'Urbervilles? I enjoy Thomas Hardy books and their glimpses into the lives of poor working class people and the life lessons his novels discuss. Yes, his novels are all tragic and some readers consider them too depressing, but I love his writing.
Una favola: la pastorella carina e ingenua, il misterioso ricco e affascinante barone che si materializza a vivere in una villa nei dintorni, di cui non si sa nulla se non che è ricco e straniero, il promesso sposo della verginella che attende un sì per convolare a nozze. Un magico incontro tra la fanciulla e il barone rischia di rompere gli equilibri esistenti. Da leggere.
This was the first Thomas Hardy book I've read. I absolutely adored the writing style, I'd love to read longer book purely on that aspect. The story was a good story, however, I had absolutely no sympathy for the maid. To be honest, I don't think you're meant to either. An entertaining read, I would certainly recommend it as it's well written and short, you can read it in a couple of hours.
Molto gradevole! Un Hardy decisamente meno impegnativo, quasi rilassante in questo racconto di vago sapore fiabesco che anticipa, però, alcuni temi della più matura e cupa produzione letteraria del grande autore inglese...
It didn't end the way I wanted it to but Hardy's books have a tendency to do that. I really enjoy this author and his works. There is always weird twists and turns everywhere.