The coldness soon broke out into open chiding. One grievous failing of Elizabeth’s was her occasional pretty and picturesque use of dialect words—those terrible marks of the beast to the truly genteel.
It was dinner-time—they never met except at meals—and she happened to say when he was rising from table, wishing to show him something, “If you’ll bide where you be a minute, father, I’ll get it.”
“‘Bide where you be,’” he echoed sharply, “Good God, are you only fit to carry wash to a pig-trough, that ye use such words as those?”
She reddened with shame and sadness.
“I meant ‘Stay where you are,’ father,” she said, in a low, humble voice. “I ought to have been more careful.”
He made no reply, and went out of the room.
The sharp reprimand was not lost upon her, and in time it came to pass that for “fay” she said “succeed”; that she no longer spoke of “dumbledores” but of “humble bees”; no longer said of young men and women that they “walked together,” but that they were “engaged”; that she grew to talk of “greggles” as “wild hyacinths”; that when she had not slept she did not quaintly tell the servants next morning that she had been “hag-rid,” but that she had “suffered from indigestion.”
These improvements, however, are somewhat in advance of the story. Henchard, being uncultivated himself, was the bitterest critic the fair girl could possibly have had of her own lapses—really slight now, for she read omnivorously. A gratuitous ordeal was in store for her in the matter of her handwriting. She was passing the dining-room door one evening, and had occasion to go in for something. It was not till she had opened the door that she knew the Mayor was there in the company of a man with whom he transacted business.
“Here, Elizabeth-Jane,” he said, looking round at her, “just write down what I tell you—a few words of an agreement for me and this gentleman to sign. I am a poor tool with a pen.”
--- Chapter XX, The Mayor of Casterbridge by Thomas Hardy
“Transference”, in psychology, demonstrates the tendency of people to redirect their emotions from the source to an unrelated subject. Transference can be seen in the way Michael Henchard, in Thomas Hardy’s The Mayor of Casterbridge interacts with his estranged daughter, Elizabeth-Jane. His unrelenting scrutiny and “growing dislike” for her shows that perhaps it is not truly about what she says or does, but his own internal feelings of class, gender, and himself. With the use of word choice and selection of detail, Hardy depicts a strained relationship between Henchard and Elizabeth-Jane that can be analyzed through Marxist and psychoanalytic lenses, and its multifaceted nature speaks to the true complexity of this father-daughter dynamic.
Although her way of talking is described as “pretty and picturesque”, they seem to be “terrible marks of the beast” to members of the upper class, like her father. Her dialect is for someone “fit to carry wash to a pig-trough”, as Henchard puts it. She responds with humility and this reflects the humility of her background. Henchard is also higher in the sociopolitical ladder as he is the mayor. Where he represents the high-class authority, Elizabeth-Jane of the working class finds herself quickly submitting to his scrutiny. In a capitalist society, people of the lesser socioeconomic standing try to imitate the behavior of upperclassmen in order to attain upward mobility. Elizabeth-Jane must assimilate the speech and handwriting and other behaviors of the wealthy to appease her father’s prioritization of status. Henchard expects her to distance herself from her humble background as seen in the displeasure he has in the way she engages in manual labor and kindly interacts with the help. These changes are seen as “improvements''. Rather than being a loving relationship, Henchard's insistence on a classist ideal while also pushing away Elizabeth-Jane shows how no amount of physical proximity will create a bond between the two characters.
Hardy’s calculated selection of detail justifies the use of a psychoanalytic lens, one that can trace Henchard’s hypercriticism of his daughter to be a projection of his own insecurities. Seen as a “gratuitous ordeal”, Henchard’s displeasure with his daughter’s handwriting is deemed unnecessary. He admits that he himself is not good at writing as he says: “I am a poor tool with a pen”. Him being upset with the way she writes while also admitting that he cannot write well shows how he sees his shortcomings in her and instead of engaging in introspection or self-improvement, he takes it out on her. Her willingness to change for him does not make his harshness subside. Rather, he regards her with a “growing dislike”. Henchard was once a poor seasonal farmer and now he has arise to the position of a wealthy mayor. As someone who was able to achieve upward mobility, Henchard remains “her bitterest critic”. He recognizes the behaviors of the lower-class that have been deemed unfavorable and seeing them in his daughter angers him. Perhaps she serves as a reminder of the person he used to be: the person he gave up in order to fit in with the wealthy. Her ability to “command” this desirable personality does not appeal to him though he was the one who initiated the change. This mismatch in the way he rejects what he demanded shows that he is dissatisfied with his own life. He is unsure of the person who he has become and transfers these emotions on to the way he interacts with his estranged daughter. Elizabeth-Jane being younger puts her in a position of hopefulness and naivety that comes with youth. Her hopes that he would be more accommodating if she assimilated high-class behaviors seems to irritate Henchard, causing him to alienate her even more. So not only does she seem to represent his poor past, but she also serves as a poster of all he lost to be in this position. His dissatisfaction with her, and possibly himself, poses a question of what is more important: wealth or happiness?