Far from the Madding Crowd was warmly received by the reading public and generously reviewed by the press. In reviewing the first installment of the novel, the Spectator's reviewer went so far as to suggest that the anonymous author might be George Eliot. Hardy himself seems not to have gained much confidence as a literary artist. Writing to his editor, Leslie Stephen, Hardy claimed "Perhaps I may have higher aims some day, and be a great stickler for the proper artistic balance of the completed work, but for the present circumstances lead me to wish merely to be considered a good hand at a serial" (Life and Work, 102).
With the success of Far from the Madding Crowd, however, Hardy became more confident and more resistant to the classification which success brings. Although his readers wished him to continue to write pastoral idylls filled with romance and rustics, Hardy defiantly claimed that "he had not the slightest intention of writing for ever about sheepfarming, as the reading public was apparently expecting him to do, and as, in fact, they presently resented his not doing" (Life and Work, 105). His next novel, The Hand of Ethelberta, seems spatially and temporally far removed from the pastoral world of Far from the Madding Crowd.