Perhaps in no minor point does woman astonish her helpmate more than in the strange power she possesses of believing cajoleries that she knows to be false--except indeed in that of being utterly skeptical on strictures that she knows to be true.
Gabriel was greatly depressed. This debauch boded ill for that willful and fascinating mistress who the faithful man even now felt within him as the embodiment of all that was sweet and bright and hopeless.
Thomas Hardy, Far from the Madding Crowd
It occurs to me that literary critics, bless their souls, might see something of the misogynist in Thomas Hardy, but I try to avoid such buttonholing in my old age. (Actually, I don't even need to try). Literary critics are, as someone or other said (I'm sure), angry people who cannot themselves write and therefore have their revenge in tearing down people who can. Despite all attempts at deconstruction, what rings true simply rings true. We have our experience in life and the talented author, having the same experience, wields his genius in forming and focusing and then giving back to the reader what he already knew but could not quite put into words--of the foibles and fantasies and catastrophic weaknesses of both male and female in their distinct and separate character.
Every man has suffered the frustration described in the first quote--what might be loosely called the fickleness of the woman. But it is not fickleness--that is far too shallow. There is a deep archetypal unwise urging in the pit of the soul that presses her on. It is an obedience to the thrust of passion.
It is interesting, and it is something that very often happens, that what one is reading will be mirrored in some secondary source--something else that he is reading at the same time, for instance, or some movie or series that he has tuned into, or something that has happened in his life or the life of someone close to him. I happen to watch while reading this novel a TV series called The Museum of Innocence, from the novel by Orhan Pamuk, a story, like that told in Far from the Madding Crowd, of passionate obsession, idolization. And this brings me in turn to the guy who delivers water to my fiancé's house and who is apparently obsessively attracted to her. This began one day when she was kind to him and spoke to him for a time as he delivered water to her house. He then began texting her and sending videos of himself (though nothing inappropriate). Next, he began following her on his bicycle as the rode home from work on her own. Not speaking to her but just following slightly behind. In time, she asked him to stop doing this, which he did, replacing this with just happening to pop up in the background wherever she went. The point is that these obsessions, in the novel, in the series, in everyday life, are self-contained, self-nourished, self-sustained, having finally little to do with the actual character and soul of the object, the idol.
The second quote reminds me of Gatsby, that glowing green light at the end of the dock across the bay, somehow symbolizing his love of Daisy Buchanan with the exception that the 'embodiment' is sweet and bright and full of hope--was hope itself. Gatsby loved and adored with confident hope, whereas Hardy's Gabriel Oak loves without hope.
Hardy, it strikes me, looks forward in literature to Fitzgerald and anticipates also Crane and Steinbeck and even Faulkner in comedic tone. Reading his work has been the purest pleasure and perhaps will become something of an obsession my own!