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The Return of the Native (1878)

de Thomas Hardy

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MembresRessenyesPopularitatValoració mitjanaMencions
7,974921,116 (3.93)471
Dip into a classic work of fiction that many critics regard as one of the novels that helped to usher in the modern era of literature. When it was originally published, Thomas Hardy's The Return of the Native rocked Victorian England with its frank discussion of titillating subjects such as out-of-wedlock relationships. Today, the novel offers readers a fascinating glimpse into the mores and moral constraints of a bygone era.… (més)
  1. 20
    Lluny del brogit del món de Thomas Hardy (Porua)
    Porua: I would like to recommend another Thomas Hardy novel, Far from the Madding Crowd. When I first read The Return of the Native it kind of surprised me to see how very similar it is to Far from the Madding Crowd. They are very similar in their story lines, characterization and narrative style.… (més)
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» Mira també 471 mencions

Es mostren 1-5 de 92 (següent | mostra-les totes)
Couldn't put it down! ( )
  CADesertReader | Feb 12, 2024 |
This is being read as part of the local Hardy reading group.

This is the first book that I've been able to read with some level of ease - the others' I have struggled at one level or another.

It is a story of mixed connections, lost (and re-found) loves, disappointments and misunderstandings. Very few lives are not altered in some way. Eustacia Vye wishes to escape the desolation and isolation of Egdon Heath, and believes that Clym, returning from Paris, will be the ticket to her escape. However, his dislike of Paris - the main cause of his return - plus a subsequent illness, ensures that Eustacia is further chained to the Heath, her chances of escape ruined.


Clym's cousin, Thomasin, becomes married Wildeve, despite his previous and unresolved dalliance with Eusticia. No one really ever settles, and it all ends in disaster. The heath is another character in this book, presenting an isolating force in the book and enforcing a loneliness on the likes of Eusticia by living so far from her nearest neighbours. Had she - had anyone - lived closer to each other, would things have happened differently?
( )
  nordie | Oct 14, 2023 |
This classic of British literature was great, despite everyone in it being a hot mess, each in their own way. I loved the tension between love vs. possession and nature vs. society, and Hardy's descriptions of the heath were very evocative, if occasionally over-long. Eustacia is a piece of work, Clym is a boring milquetoast, Wildeve is a d-bag, and Thomasin would benefit from some 21st century ideas of agency. Yes, I'm being a bit flip and reductive, but I truly did enjoy listening to this, especially as read by Alan Rickman. It was my first Hardy but I don't think it will be my last. ( )
4 vota katiekrug | Jan 14, 2023 |
Hardy at his best. First tier in storytelling, character development, and use of language and description. It is like being served a feast to listen to Hardy entone over the features of the heath. The wet young beeches were undergoing amputations, bruises, cripplings, and harsh lacertations, from which the wasting sap would bleed for many a day to come, and which would leave scars visible till the day of their burning. Each stem was wrenched at the root, where it moved like a bone in its socket, and at every onset of the gale convulsive sounds came from the branches, as if pain were felt" So real and bleak and unforgiving a place, yet so full of love and loveliness and longing.

Was there ever a more heartbreaking woman than Eustacia Vye? I feel so deeply for her angst at being misplaced in Egdon and pity her dreams and desires of another world (which most likely does not exist in the way that she believes it does). She makes a poor bargain, and she makes it over and over again. She always takes the wrong course and is so thoroughly misunderstood by everyone, with the possible exception of Damon.

Was there ever a man more inept than Clym Yeobright? While he dawdles over who should make the first move, who is owed forgiveness most, and what is the best action to take, he lets every opportunity to stem disaster slide through his fingers. He is so sadly on that path of good intentions that leads to a sure hell, that he makes you scream in your head, "do something".

Was there ever a man harder to fathom than Damon Wildeve? He is neither good enough to love nor evil enough to hate. In the end, he is the catalyst that sets all the sadness in motion and makes it inevitable that no one can be truly happy who falls within his sphere. He seems incapable of any real love until his choice seals his fate.

So much misunderstanding and misadventure is overwhelming, as if it were God playing with Job or perhaps just winking at the way the humans stumble into one avoidable quagmire after another. The sense of doom hangs over everything, even the joyful wedding parties, in such a typically Hardy fashion. One cannot help wondering if happiness is even possible in this environ or if the heath itself does not eschew human delights and loves.

Living in a time when so few options were open to women, Hardy is a master of capturing the sadness and despair that can accompany them in their lot. Eustacia fights against this norm, and finds herself more trapped than most. Thomasin might find herself in the same situation but for a kinder fate guiding her steps (and the interferences of Diggory Venn). That a woman can be too easily ruined is obvious; that she is at the mercy of the morality of men leaves her in constant danger. She has, in fact, very little control over her own fate.

I loved this novel. Like [b:Jude the Obscure|50798|Jude the Obscure|Thomas Hardy|https://d.gr-assets.com/books/1389403264s/50798.jpg|41342119] and [b:The Mayor of Casterbridge|56759|The Mayor of Casterbridge|Thomas Hardy|https://d.gr-assets.com/books/1388276915s/56759.jpg|2390173], this left me heart torn and feeling very vulnerable and human. I kept wanting to warn the characters, especially Clym, to be more aware of the possible consequences of their choices, to hurry or to slow down, to make one small change and save themselves and all around them. But, of course, none of Hardy's characters ever listen to me. ( )
  mattorsara | Aug 11, 2022 |
Ezt a könyvet azóta el akarom olvasni, amióta a Rozshegyezőben... neeeem... szóval a Zabban a fogó-ban... vagyis a Rozszabálóban... a fene... tehát a The Catcher in the Rye -ban Holden hivatkozott Eustacia Vye-re, de mivel Hardyval amúgy nem zökkenőmentes a kapcsolatom, ezért eddig toltam magam előtt. Ám most eljött az idő.

A Hazatérés egy szerelmi négyszög története, ami idővel ötszöggé válik. Hardy tisztes távolságból közelít a téma felé: előbb lefesti nekünk a hangával borított, lápos Egdon Heath tájait, aztán bemutat nekünk pár mulatozó helybélit, akik erős tájszólásban vázlatolják az olvasónak, milyen sztori is fog mindjárt következni – csak ezután csapunk bele a lecsóba. (Ez a hosszas felvezetés amúgy már jelzi, hogy a könyv főszereplője legalább annyira a délkelet-angliai vidék és lakói, mint azok, akik a cselekményt bonyolítják. És meg kell hagyni, Hardy művéhez valóban sokat hozzátesz a fenyér erőteljes ábrázolása.) Az van, hogy Tamsin* kisasszony és Wildeve, a fogadós menyegzőre készül, de a férfi szíve legalább annyira dobog Eustaciáért, akit a bennszülöttek úgy általában véve boszorkánynak tartanak. Aztán itt van még Venn, a szimpatikus ürge, aki piros festékkel házal, és maga is nagyon szereti Tamsint, de elég komoly hátránnyal indul: ugyanis a munkája miatt vörös mindene. És hát ki menne szívesen hozzá egy vörös emberhez? Ebben a mai átpolitizált világban? Ez idáig a négyszög. Aztán megérkezik a messzi Párizsból Tamsin kisasszony unokabátyja, Clym, akiben Eustacia meglátja a nagyvilági fickót, aki kimenti majd a semmi sivár világából, úgyhogy ejti miatta Wildeve-t – elég lassan esik le neki, hogy Clym igazából hazatért, a szó bibliai értelmében, és esze ágában sincs visszamenni a nagyvilágba. Íme, az „egymás-mellett-elbeszélés” tankönyvi esete.

Hardy prózája súlyos, helyenként költői, helyenként viszont igen nehézkes szöveg, párbeszédeiben pedig érdekesen keveredik a sorsszerűség a kötelességtudással, és a szív szava a racionalitással. (Ahogy felteszem, a való életben is.) A fő- és mellékszereplők ábrázolása az, ami egyértelmű erényként említenék: emlékezetes alakok ők, de közülük is kiemelkedik Eustacia Vye alakja, akiben Hardy kiválóan ábrázolja a sorsával elégedetlen, nagyot álmodó nőt, aki bármit, de tényleg bármit megtenne azért, hogy kiszabaduljon az unalmas lankák közül. Tagadhatatlan, érezni némi lelki rokonságot Eustacia és Holden között – ugyanaz az elvágyódás, a „többre-hivatottság” jellemzi őket. Bár szerepe szerint Eustacia a regény bajkeverője, így igényt tarthatna a negatív főszereplő címkéjére, de Hardynak sikerül úgy bemutatnia őt, mint akiért szorítani lehet – lebírhatatlan vágyaival vívott titáni küzdelme miatt mindenképpen pályázhat az olvasó szimpátiájára, vagy ha nem is a szimpátiájára, de legalább a szánalmára. Ha egy dolgot kéne említenem, ami miatt érdemes volt elolvasni ezt a regényt, akkor őt említeném. (De amúgy több dolog miatt érdemes.)

* Igazából Thomasin, de ezek a csávók így elharapják a szavakat. ( )
  Kuszma | Jul 2, 2022 |
Es mostren 1-5 de 92 (següent | mostra-les totes)

» Afegeix-hi altres autors

Nom de l'autorCàrrecTipus d'autorObra?Estat
Hardy, Thomasautor primaritotes les edicionsconfirmat
Bayley, JohnIntroduccióautor secundarialgunes edicionsconfirmat
Boumelha, PennyIntroduccióautor secundarialgunes edicionsconfirmat
Dillon, DianeAutor de la cobertaautor secundarialgunes edicionsconfirmat
Dillon, LeoAutor de la cobertaautor secundarialgunes edicionsconfirmat
Forsblom, HarryTraductorautor secundarialgunes edicionsconfirmat
Gatrell, SimonEditorautor secundarialgunes edicionsconfirmat
Gindin, James JackEditorautor secundarialgunes edicionsconfirmat
Gregory, HoraceEpílegautor secundarialgunes edicionsconfirmat
Gregory, HoraceEpílegautor secundarialgunes edicionsconfirmat
Higonnet, Margaret R.Introduccióautor secundarialgunes edicionsconfirmat
Ingham, PatriciaPròlegautor secundarialgunes edicionsconfirmat
Leighton, ClareIl·lustradorautor secundarialgunes edicionsconfirmat
Lynd, SylviaIntroduccióautor secundarialgunes edicionsconfirmat
Mallett, PhillipEditorautor secundarialgunes edicionsconfirmat
May, DerwentIntroduccióautor secundarialgunes edicionsconfirmat
Meyers, JeffreyEpílegautor secundarialgunes edicionsconfirmat
Milne, JohnEditorautor secundarialgunes edicionsconfirmat
Parker, Agnes MillerIl·lustradorautor secundarialgunes edicionsconfirmat
Pérez, EstherTraductorautor secundarialgunes edicionsconfirmat
Rickman, AlanNarradorautor secundarialgunes edicionsconfirmat
Seymour, ClaireIntroduccióautor secundarialgunes edicionsconfirmat
Slack, Robert C.Introduccióautor secundarialgunes edicionsconfirmat
Slade, TonyEditorautor secundarialgunes edicionsconfirmat
Smiley, JaneIntroduccióautor secundarialgunes edicionsconfirmat
Taylor, WarnerIntroduccióautor secundarialgunes edicionsconfirmat
Theroux, AlexanderIntroduccióautor secundarialgunes edicionsconfirmat
Walsh, LaurenIntroduccióautor secundarialgunes edicionsconfirmat
Winterich, John T.Prefaciautor secundarialgunes edicionsconfirmat
Woodcock, GeorgeIntroduccióautor secundarialgunes edicionsconfirmat

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"To sorrow
I bade good morrow,
And thought to leave her far away behind;
But cheerly, cheerly,
She loves me dearly;
She is so constant to me, and so kind.
I would deceive her,
And so leave her,
But ah! she is so constant and so kind."
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A Saturday afternoon in November was approaching the time of twilight, and the vast tract of unenclosed wild known as Egdon Heath embrowned itself moment by moment.
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Human beings, in their generous endeavour to construct a hypothesis that shall not degrade a First Cause, have always hesitated to conceive a dominant power of lower moral quality than their own; and, even while they sit down and weep by the waters of Babylon, invent excuses for the oppression which prompts their tears.
As for Thomasin, I never expected much from her; and she has not disappointed me.
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The Return of the Native was first published in Belgravia magazine in 12 parts in 1878 and revised by Hardy in 1895 and 1912, when he produced a definitive Wessex Edition of all of his novels.
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Dip into a classic work of fiction that many critics regard as one of the novels that helped to usher in the modern era of literature. When it was originally published, Thomas Hardy's The Return of the Native rocked Victorian England with its frank discussion of titillating subjects such as out-of-wedlock relationships. Today, the novel offers readers a fascinating glimpse into the mores and moral constraints of a bygone era.

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