Summary

Portrait of Thomas Hardy Thomas Hardy Far from the Madding Crowd — Chapter II (1874)

Castor and Pollux with their quiet shine were almost on the meridian: the barren and gloomy Square of Pegasus was creeping round to the north-west; far away through the plantation Vega sparkled like a lamp suspended amid the leafless trees, and Cassiopeia's chair stood daintily poised on the uppermost boughs.
"One o'clock," said Gabriel.
Being a man not without a frequent consciousness that there was some charm in this life he led, he stood still after looking at the sky as a useful instrument, and regarded it in an appreciative spirit, as a work of art superlatively beautiful.
Source: Wikisource

Portrait of Thomas Hardy Thomas Hardy Far from the Madding Crowd — Chapter II (1874)

They had a clearness which was to be found nowhere in the wind, and a sequence which was to be found nowhere in nature. They were the notes of Farmer Oak's flute.
The tune was not floating unhindered into the open air: it seemed muffled in some way, and was altogether too curtailed in power to spread high or wide. It came from the direction of a small dark object under the plantation hedge -- a shepherd's hut -- now presenting an outline to which an uninitiated person might have been puzzled to attach either meaning or use.
Source: Wikisource

Portrait of Thomas Hardy Thomas Hardy Far from the Madding Crowd — Chapter II (1874)

In about the time a person unaccustomed to bodily labour would have decided upon which side to lie, Farmer Oak was asleep.
The inside of the hut, as it now presented itself, was cosy and alluring, and the scarlet handful of fire in addition to the candle, reflecting its own genial colour upon whatever it could reach, flung associations of enjoyment even over utensils and tools. In the corner stood the sheep-crook, and along a shelf at one side were ranged bottles and canisters of the simple preparations pertaining to ovine surgery and physic
Source: Wikisource

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