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You wanna see the essay that got me a B despite me never reading the book!! This is talking through the ass done professionally. All that helped me were two pages of notes from the teacher and sparknotes.com which is possibly the best website on Earth when you need it...

The Mayor Of Casterbridge

Farfrae and the Representation of Change

By Gordon Strachan

Is change necessarily a bad thing? How does this change affect those unwilling to move with the times? This is a recurring theme throughout Thomas Hardy’s ‘Mayor of Casterbridge’. Donald Farfrae arrives in Casterbridge with a new-age technology and fresh ways of thinking, both of which challenge Michael Henchard’s traditionalist style and ageing outlook on life. As the plot progresses however, Farfrae’s modern persona begins to interfere with Henchard’s life on a personal level as well as in a business sense. How exactly does Farfrae symbolise both a change in life as well as representing the movement into a new era, and what is Hardy’s ultimate opinion of the situation?

The first and most literal example of Farfrae’s contemporary attitude is seen in his introduction of a farming technology that proves revolutionary to Henchard’s old-fashioned means of working. Henchard welcomes him warmly, hoping to capitalize on the intriguing new enterprise. Hardy has used this devise not only as a means of setting the plot, but also to thrust Farfrae boldly into the reader’s attention. Instead of introducing his character slowly, Hardy quickly manages to establish Farfrae as an important figure. Farfrae’s invention reflects how Farfrae himself will be viewed on a more personal level throughout the book - an exciting new alternative to an ageing system.

Farfrae represents a polar opposite of Henchard’s character and methods. Whereas Henchard’s can be at moments rash, impulsive and occasionally hot-headed, Farfrae is calm, thoughtful and methodical, never letting personal issues interfere with his business. For a town that appears rooted in such traditionalist ways and views, that to a modern audience would sound unappealing and unattractive, Farfrae’s foreign attitude is far more refreshing and likeable. His approach to both business and pleasure: "the commercial and the romantic" seem so much more appealing against the stuffy archaic backdrop. This may not have been fully meant by Hardy when it was written, but there must have been some anticipation of a changing state of mind as for what is socially acceptable for a male role. As a result, this unordinary character erects a sense of intrigue among the other characters, who initially welcome this fresh personality into their lives.

The first true instance of Farfrae’s alternative attitude not being accepted is when he decides to go into business against Henchard. Hardy makes sure that this is not portrayed as a malice act against Henchard, as it is done in as painless a way for him as possible. By keeping all personal thoughts aside, the business issues are kept unbiased, leaving Hardy’s opinions over whether change either good or bad ambiguous. Hardy puts the reader off guard by letting Farfrae assume a sentimental role every so often, letting him reminisce about times gone by: "the romance of the sower is gone for good...How things change!" Perhaps Hardy’s intention for Farfrae's two-mindedness was to show that change is not completely heartless in ‘destroying’ the past, that change does not happen blindly, irrespective of what has come before it. The interesting thing about Farfrae’s enterprise is that it is done with such precision that it seems to shock Henchard and those around him.

It is inevitable of course, that such change would move into the character’s personal lives. Farfrae begins to court Elizabeth Jane, Henchard’s stepdaughter. Obviously, Henchard tries to stop this, but is unsuccessful. This courtship represents how change will inevitably seek its way into the lives of even those reluctant to sway with the movement. Elizabeth-Jane is portrayed as the most willing from Henchard’s side of the fence to accept a new lifestyle, and can therefore be seen in two ways - as either the most liberal, or the weakest and most likely to fold to change. As far as representation of whether change is either bad or good however, Hardy has remained almost entirely impassive; that is, of course, until Lucetta arrives in town…

Lucetta, a woman of high social ranking, was once in a serious relationship with Henchard in his earlier days of being Mayor. However, they parted ways, and she left Casterbridge. She eventually returns, and as well as rekindling Henchard’s feelings for her, catches Farfrae’s eye. Farfrae soon falls in love with Lucetta, and abandons his relationship with Elizabeth-Jane. By doing this, Farfrae appears to the reader as shallow and selfish with only his own interests at heart. Through this action, Hardy manages to switch whom the reader feels more sympathy towards. By devaluing Farfrae’s character, it also shifts the idea that with change come unethical and immoral standards. Hardy leaves the reader unsure of if a modern attitude really is the preferable direction, and makes them feel some longing for tradition somehow to succeed.

Hardy personifies the effect of change on the citizens of Casterbridge through Lucetta, who proves to be the physical representation of the shifting ideas of the people. After being practically engaged to Henchard in the past, she has now reconsidered and fallen for Farfrae. His relaxed, sensitive and calming modern man persona is found to be more appealing than Henchard’s ways. Perhaps Farfrae’s charming personality prevents the reader from finding his attitude to women wholly distasteful. Lucetta also provides another means of conflict between modernism and tradition. Henchard grows extremely bitter of Farfrae’s relationship and plots to murder him. Hardy’s introduction of this conflict yet again shifts the boundaries of sympathy for the characters. While Farfrae’s actions remain questionable, and his motives left to simple assumption, Henchard’s character is examined closely once again. This bitter outburst of rage stemming from regret gives Henchard no sympathy from the reader. He appears too stuck in his ways to accept inevitable change, showing a gradual fall from grace.

The overall impression that the reader is given is that Hardy sympathises more heavily with Henchard’s longing for tradition. However, to today’s reader, I believe that it is easier to empathise with Farfrae’s character than the archaic persona of Michael Henchard. It is for this reason that determining if Hardy tried to portray change in Casterbridge as either good or bad. With such contrasting cultural and social surroundings of today compared to the period of the book, the answer, to some extent, may have been lost. I believe that although Hardy would have sided with the sentimentalist in Hardy, he also embraced change. However, I feel Hardy felt bitter towards change, as his icon of tradition, Henchard dies by the end of the book, and the symbol of modernism is elected the new Mayor of Casterbridge. Perhaps he partly wrote this book as a love letter to days of old, capturing its essence, while anticipating the shifts and movements of the modern world, fearing that it would destroy what had come before it.