In reprinting this story for a new edition I am reminded that it was in the chapters of "Far from the Madding Crowd," as they appeared month by month in a popular magazine, that I first ventured to adopt the word "Wessex" from the pages of early English history, and give it a fictitious significance as the existing name of the district once included in that extinct kingdom. The series of novels I projected being mainly of the kind called local, they seemed to require a territorial definition of some sort to lend unity to their scene.
Between this half-wooded half-naked hill, and the vague still horizon that its summit indistinctly commanded, was a mysterious sheet of fathomless shade—the sounds from which suggested that what it concealed bore some reduced resemblance to features here. The thin grasses, more or less coating the hill, were touched by the wind in breezes of differing powers, and almost of differing natures—one rubbing the blades heavily, another raking them piercingly, another brushing them like a soft broom. The instinctive act of humankind was to stand and listen, and learn how the trees on the right and the trees on the left wailed or chaunted to each other in the regular antiphonies of a cathedral choir; how hedges and other shapes to leeward then caught the note, lowering it to the tenderest sob; and how the hurrying gust then plunged into the south, to be heard no more. The
All the men, and some of the women, when milking, dug their foreheads into the cows and gazed into the pail. But a few—mainly the younger ones—rested their heads sideways. This was Tess Durbeyfield's habit, her temple pressing the milcher's flank, her eyes fixed on the far end of the meadow with the quiet of one lost in meditation.
«Cosa stai guardando?»«Stupide fantasie. In un certo senso vedo di nuovo, in questa mia ultima passeggiata, quegli spiriti dei morti che vidi la prima volta che venni qui!»«Sei proprio un tipo curioso!»«Mi sembra di vederli, e quasi di sentire il fruscio delle loro vesti. Ma non li venero più come allora. Non credo alla metà di loro. Teologi, apologisti, metafisici, statisti arroganti e altri, non mi interessano più. Tutto questo ha perso per me ogni fascino perché è stato annientato dalla cruda realtà!»L'espressione cadaverica del volto di Jude alla luce dei lampioni sotto la pioggia faceva veramente credere che vedesse qualcuno laddove non c'era nessuno.