DOCSLIB.ORG

Copyrighted Material

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyrighted Material Index Adams, Frederick Baldwin 12 Bellini, Giovanni 211, 218, 221, 252 Ainsworth, William Harrison 351–2 Benjamin, Walter 162, 164 Allhusen, Dorothy 13 Bennett, Jane 37–9, 42, 45, 50 Alma-Tadema, Laurence 218 Benson, Arthur Christopher 350 Antell, John 16, 171 Bergson, Henri 385–6 Archer, William 12, 461 Creative Evolution 81, 379, 385 Arnold, Matthew 90, 350, 361 Blackwood, William 370 Culture and Anarchy 62, 348 Blackwood’s Edinburgh Magazine 367, 370 Asquith, (Lady) Cynthia 13 Bloom, Harold 465 Athenaeum 150 Blomfi eld, Arthur 87, 148, 212, 349 Austen, Jane Blunden, Edmund 13 Northanger Abbey 153 Bockhampton 15, 211–12 Pride and Prejudice 277 Hardy cottage 14–15, 212 Boldini, Giovanni 219 Bakhtin, Mikhail 103–5, 110, 175, 454–5 Bolton Weekly Journal 368 and dialects 111–12 Bonheur, Rosa 214 utterance 105–6, 115 Bonington, Richard Parkes 210, 218 Balliol Players 96 Boswell, James 17 Balzac, Honoré de 332 Braddon, Mary Elizabeth 330 Barham, Richard Bristol Times and Mirror 367 The Ingoldsby LegendsCOPYRIGHTED 456 Bromwich, MATERIAL T. J. Barker, Robert An Introduction to the Theory of Infi nite invention of the panorama 423 Series 380 Barnes, William 89, 110, 219, 299, 319, Browning, Robert 3, 462 347, 456 Buell, Lawrence 140–2 Barrie, (Sir) James 8 Burns, Robert 434, 444 Bastien-Lepage, Jules 215, 220 Bastow, Henry 72 Campbell, George Bate, Jonathan 140–2 Philosophy of Rhetoric 338, 342n4 Beckford, William 358 Campbell, R. J. 78 480 Index Cantor, George 379, 386–7 Dorset County Museum 10–12, 87, 99, Carlyle, Thomas 26, 92, 156 223 Sartor Resartus 459 Dou, Gerard 245 Chambers, Jessie 466 Douglas, (Sir) George 212 Channing, Mary 477 Dressler, Marie Clifford, W. K. 22 Tess of the Vaudevilles 329, 335 Clodd, Edward 11, 23, 27, 59, 76, 338, Dryden, John 15 349, 404 du Maurier, George 218 Cobbe, Frances Power 63 Trilby 285 Cobbett, William 347 Cockerell, (Sir) Sydney 8, 9, 11, 98, 462 ecocriticism 140–2 Coleridge, Samuel Taylor 139 Edel, Leon 17 Collins, Wilkie 330 Edward, Prince of Wales (later Edward Comte, Auguste 22–7, 34, 44, 74, 90–1 VIII) 13 A General View of Positivism 22 “Egerton, George” (Mary Chavelita Social Dynamics 22, 74 Clairmonte) 91 System of Positive Philosophy 74, 90 Keynotes 349 Connolly, William 52n6 Eiseley, Loren 51n2 Conrad, Joseph 433–4 Eisenstein, Sergei 429 Cornhill Magazine 54, 251, 255 Eliot, George 22, 25, 29, 45, 47, 74, 86, Cox, James Stevens 13 103, 361 Crickmay, George R. 87, 283 Adam Bede 245 Crivelli, Carlo 211, 221 Middlemarch 337 Crossick, Geoffrey 167 Eliot, T. S. 91, 221, 451 Culler, A. Dwight 36–7 on Hardy 211, 454 “The Love Song of J. Alfred Darwin, Annie 47 Prufrock” 91, 159–60 Darwin, Charles 30, 34, 36–52, 55–63, The Waste Land 462–3 68 Ellis, Henry Havelock 59–60, 339 The Descent of Man 28, 46, 57–63, 68 The New Spirit 59, 91 The Expression of the Emotions in Man and Emerson, Ralph Waldo 322 Animals 34n English Illustrated Magazine 367–8, 375 On the Origin of Species 25, 42, 46, 51n4, Essays and Reviews 73 55, 243 Darwin, William Erasmus 63 Fawcett, Millicent Garrett 16 Daubigny, Charles 214 Felkin, Elliott 13 de la Mare, Walter 13, 457 Forster, E. M. Dedekind, Richard 386 A Passage to India 153, 434 “Dedekind cut” 385 Fortnightly Review 368 Delacroix, Eugène 214 Fourier, Charles 21 Deleuze, Gilles 25 Frazer, (Sir) James Derrida, Jacques 102, 104, 111, 171–2, Totemism 315 408, 438, 445 Freud, Sigmund 30, 389 Dickens, Charles 149, 367 Psychopathology of Everyday Life 32 Disraeli, Benjamin 361 the uncanny 170–1, 229, 231–2, Dorset County Chronicle 94–5 235–6, 307–8 Index 481 Frith, W. P. 214–15, 218 diaries 12 Frost, Robert 461 Early Life of Thomas Hardy 7–8, 11 Later Years of Thomas Hardy 7–8 Galton, Francis 57, 62 Hardy, Henry (brother) 14 generic hybridity 102–15, 296 Hardy, Jemima (mother, née Hand) 10, Genette, Gérard 103 92, 147, 173–4, 238 Gérôme, Jean Léon 213, 220 Hardy, Katharine (“Kate,” sister) 10 Gibbon, Edward 350 diary 13 Giotto 214, 217 Hardy, Mary (grandmother, née Head) 92, Girard, René 447 287 Gissing, George 86 Hardy, Mary (sister) 11–12, 73, 82, 146, Gladstone, William Ewart 63 155, 213 Godwin, Mary 147 Hardy, Thomas (father) 10, 155, 223 Gosse, Edmund 17, 210 Hardy, Thomas (grandfather) 287 on Hardy’s women characters 126 HARDY, THOMAS Gothic architecture 88, 286, 294, 353, and altruism 68 356 and animals 41, 48, 57, 64–6, 69 Gothic fi ction 247, 301 architecture 87–8, 282–3 Gould, Stephen Jay 51n3 biography 7–18, 403–5 Grand, Sarah 91 and the Church 2, 23–4, 40–1, 71–84, Graphic 338, 365, 367, 370–3 345–62 Graves, Robert 333 and class 16, 162–76 The White Goddess 207–8 and dialect 110–15, 166 Gray, Thomas 92 drawings and paintings 211–13 “Elegy Written in a Country Churchyard” and “enchantment” 36–50 246 European travels 216–18 Greene, Graham and gender 117–28, 174 The End of the Affair 357 and haunting 172–3, 300–12 Greenwood, Frederick 330 interviews with 12–13 Greuze, Jean Baptiste 214 and local history 92–5, 97, 172, 287 Griffi th, D. W. 429 and London 14, 146–61, 224 Grove, Agnes (Lady) 9, 22, 224 and music 223–38; dance 223–4, Guay, Gabriel 220 227–9; folk song 224; hymns 224–5; responsiveness to 226 Haldane, R. B. notebooks 9–10, 86–100, 401–3; The Pathway to Reality 379, 386 “Architectural” 9, 87–8; “Facts” Hardy, Emma Lavinia (née Gifford, 9, 93–5; “Literary Notes” 9, 21–6, fi rst wife) 10–12, 14, 17, 75, 90, 90–2; “Memoranda” 9, 95–7; 93, 149–50, 153, 156, 206, 283, 351, “Poetical Matter” 9, 75, 96–8; 382, 390, 398–9, 404 “Schools of Painting” 9, 88–9, 214; diaries 11–12, 216–18 “Studies, Specimens, &c.” 9, 89, 99; “The Maid on the Shore” (story) 15 “Trumpet-Major” 9, 92–3 and painting 212, 219 and painting 210–21 Some Recollections 11, 174–5 and pastoral 144, 241–53 Hardy, Florence Emily (née Dugdale, second and philosophy 21–35; wife) 7–12, 17, 96, 224, 404, 462 Positivism 22–6, 44, 74, 90–1 482 Index HARDY, THOMAS (cont’d) “The Science of Fiction” 126, 269, 282, and romantic love 194–209 284 and the rural 133–45 novels and Stinsford 72, 75, 82, 88, 356–7 Desperate Remedies 160, 178, 269–72, Wessex 2, 14, 141, 144, 146, 345–62 D. H. Lawrence on 467, ingenuity in works, see autobiography; collected 271–2, love in 195–6, music in editions; drama; miscellaneous prose; 231–3, plotting in 273–4, 276–7 novels; poetry; stories Far From the Madding Crowd 2, 22–3, autobiography 25, 28, 31, 39, 48–49, 64, 102, 202, The Life and Work 8–10, 14–15, 21–2, 246–53, 333, 346, D. H. Lawrence on 71–2, 95–6, 117–19; “The Hard Case 468, dress in 178–93, gender in of the Would-be-Religious” 80–1 120–2, 127, 190, generic instability collected editions of 247, 251, illustrations for 219, Mellstock Edition 453 manuscript 54, music in 225, Wessex Edition 267–8, 367–8, 371, pictorial techniques in 247–51 452–3 The Hand of Ethelberta 54, 56–7, drama 65–6, 102, 119, 215, 270–1, 475, The Dynasts 3, 22, 144n1, 152–4, D. H. Lawrence on 468, gender in 158–9, 413–30, 453, 455–6, 474, 124, ingenuity in 272, London in cinematic techniques in 413–16, 151, music in 232–3, plotting in 429–30, as diorama 418–20, magic 274–8 lantern effects in 427, music in Jude the Obscure 3, 15, 16, 23–4, 27, 230, optical entertainments 418–21, 30–3, 36, 42–5, 56, 59, 61, 63, 66–7, and panorama 423–7, as peepshow 69, 88, 292–3, 333, 346–62, 474–6, 421–2, phantasmagoria 421, the Church in 346–62, class in as tableau vivant 422 162–3, 166, as conversion novel The Famous Tragedy of the Queen of 347–8, D. H. Lawrence on 468–70, Cornwall 453 gender in 117–18, Gothic elements “Tess of the d’Urbervilles” (play) 151 in 356–8, music in 225 miscellaneous prose A Laodicean 88, 93, 197–8, 270, 348, Apology to Late Lyrics and Earlier 76–7, 354–5, ingenuity in 272–3, 278–9, 358, 360, 462 music in 231, plotting in 276 “Candour in English Fiction” 127–8, The Mayor of Casterbridge 3, 30–3, 39, 269, 367 43, 66, 95, 117, 167–8, 198, 220, “The Dorsetshire Labourer” 141, 299–312, 314, 433–49, 477, cinematic 169–70, 436 techniques in 435, class in 166, General Preface to the Wessex D. H. Lawrence on 468, doubling in Edition 21, 94, 267–9, 282 302–4, 307, gesture speech in Introductory Note to Winter Words 21 435–7, Gothic traces in 304–7, “Memories of Church Restoration” 283, hands in 434–49, haunting in 294–5 300–12, music in 229, the uncanny “On the Application of Coloured Bricks in 307–9 and Terra Cotta to Modern A Pair of Blue Eyes 15, 26, 34n, 36, 43, Architecture” 216 61, 134–5, 160, 198, 212, 233, “The Profi table Reading of Fiction” 21, 282–7, 331, D. H. Lawrence on 269–70, 274, 282 467–8, gender relations in 119, 124, Index 483 285, London in 152, music in in 27, 315–26, serial version 226–7, representation of women in 366–7, Winterborne and nature 134–6 323–6 The Poor Man and the Lady poetry 378–94, 395–411, 450–63 (unpublished) 15, 73, 103, 149, 160, individual poems: “According to the 175, class and gender in 121–2 Mighty Working” 400; “After a The Return of the Native 15, 26–7, 30, Journey” 283; “After Reading Psalms 32–3, 39, 43, 63, 66–8, 90–1, 136, XXXIX, XL, etc.” 383; “After the 199, 220, 233, 254–65, 333, 476, Last Breath” 459; “Afterwards” class in 172, D.
Load more

Recommended publications
  • Download PDF Booklet
    Thomas Hardy Winter Words Poetry and Personal Writings POETRY Read by Bruce Alexander and Janet Maw NA237312D 1 The Oxen * 1:58 2 So begins The Life of Thomas Hardy r 1:18 3 A Church Romance # 2:15 4 The Self-Unseeing * 2:03 5 Neutral Tones * 1:18 6 When I Set Out For Lyonnesse * 3:47 7 Poems of Childhood and Home r 0:31 8 Domicilium * 2:36 9 During Wind And Rain # 1:26 10 The House Of Hospitalities * 0:49 11 Night In The Old Home * 1:15 12 Wessex Poems r 1:41 13 A Trampwoman’s Tragedy # 5:10 14 At The Railway Station * 1:23 15 One Ralph Blossom Soliloquizes * # 1:22 16 The Ruined Maid # 1:47 17 The Lost Pyx * 3:42 18 Great Things * 1:14 19 Weathers * 0:50 20 Snow In The Suburbs * 1:20 2 21 The Fallow Deer At The Lonely House # 0:59 22 Poems Past And Present r 1:58 23 In Tenebris I (From Psalm 102) * 1:10 24 In Tenebris II (From Psalm 142) * 1:55 25 Wessex Heights * 2:49 26 At Day-Close In November * 0:36 27 Shut Out That Moon # 1:14 28 The Five Students * 1:58 29 A Commonplace Day * 2:11 30 I Look Into My Glass * 0:40 31 Nobody Comes * 0:51 32 Exeunt Omnes * 1:03 33 Satires Of Circumstance r 0:52 34 The Workbox * 1:32 35 ‘Ah, Are You Digging On My Grave?’ # 1:56 36 In Church * 0:47 37 In The Cemetery * 0:42 38 At Tea # 0:44 39 At A Watering Place * 0:46 40 The Curate’s Kindness * 1:52 3 41 The Rash Bride * 5:45 42 Poems of Love And Loss r 2:15 43 A Countenance * 0:58 44 The Contretemps * 3:00 45 Plena Timoris * 1:14 46 Molly Gone * 1:37 47 A Broken Appointment * 0:54 48 The Division * 0:35 49 The Photograph * 1:54 50 Thoughts Of Phena
    [Show full text]
  • Poems by Thomas Hardy Questions by Dr
    Poems by Thomas Hardy Questions by Dr. Boos “Channel Firing” 1. Why does Hardy set this poem in a churchyard? What is the point of using such expressions as “the glebe cow” and “Christes sake”? 2. From whose point of view is the poem told? What is the effect of making “God” a character in the poem? 3. What is the effect of the stanza form and rhythm? 4. What do you make of God’s use of colloquial expression? 5. What dead human being receives the last word, and why is he chosen? 6. Are there droll or humorous aspects to the poem? Even if so, is the poem ultimately lighthearted? 7. What is the meaning of the poem? What is added by the final allusions to “Stourton Tower, / And Camelot, and starlit Stonehenge”? “The Oxen” 1. To what legend does the poem refer? Why do you think Hardy chose the legend of the kneeling oxen to represent Chrismas rather than, say, legends of angels or Santa Claus? 2. What are features of the poem’s stanza form, rhythms, and rhymes? Are they appropriate for the topic? Is the poem too short? 3. How is dialogue and direct address used in the poem? What effect do these have? 4. What characterizes Hardy’s word choice? Would his audience have used words such as “barton” and “coomb”? 5. What does Hardy think of the truth of this legend? Why does he say that “I feel” I would go with a messenger reporting this event? 6. What are some implications of the finallLine? Are there beliefs beyond the legend of kneeling oxen in which the poet can have no faith? Or is the final line indeterminate? 7.
    [Show full text]
  • Of Desperate Remedies
    Colby Quarterly Volume 15 Issue 3 September Article 6 September 1979 Tess of the d'Urbervilles and the "New Edition" of Desperate Remedies Lawrence Jones Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 15, no.3, September 1979, p.194-200 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Jones: Tess of the d'Urbervilles and the "New Edition" of Desperate Reme Tess of the d'Urbervilles and the "New Edition" of Desperate Remedies by LAWRENCE JONES N THE autumn of 1884, Thomas Hardy was approached by the re­ I cently established publishing firm of Ward and Downey concerning the republication of his first novel, Desperate Remedies. Although it had been published in America by Henry Holt in his Leisure Hour series in 1874, the novel had not appeared in England since the first, anony­ mous publication by Tinsley Brothers in 1871. That first edition, in three volumes, had consisted of a printing of 500 (only 280 of which had been sold at list price). 1 Since that time Hardy had published eight more novels and had established himself to the extent that Charles Kegan Paul could refer to him in the British Quarterly Review in 1881 as the true "successor of George Eliot," 2 and Havelock Ellis could open a survey article in the Westminster Review in 1883 with the remark that "The high position which the author of Far from the Madding Crowd holds among contemporary English novelists is now generally recognized." 3 As his reputation grew, his earlier novels were republished in England in one-volume editions: Far from the Madding Crowd, A Pair of Blue Eyes, and The Hand ofEthelberta in 1877, Under the Greenwood Tree in 1878, The Return of the Native in 1880, A Laodicean in 1882, and Two on a Tower in 1883.
    [Show full text]
  • Thomas Hardy Poems
    1 Thomas Hardy Poems Thomas Hardy (1840 1928) was an English novelist and poet. After a successful writing career that included such novels as Far from the Madding Crowd (1874), The Return of the Native (1878), The Mayor of Casterbridge (1886), and Tess of the D’Urbervilles (1891), his last novel, Jude the Obscure (1895) was roundly condemned by the church as immoral. After that, Hardy concentrated on writing poetry. In 1898 he published Wessex Poems; he continued to publish poetry throughout the rest of his life. “The Man He Killed” (1909) Had he and I but met By some old ancient inn, We should have set us down to wet Right many a nipperkin! But ranged as infantry, 5 And staring face to face, I shot at him as he at me, And killed him in his place. I shot him dead because— Because he was my foe, 10 Just so: my foe of course he was; That's clear enough; although He thought he'd 'list, perhaps, Off-hand like—just as I— Was out of work—had sold his traps— 15 No other reason why. Yes; quaint and curious war is! You shoot a fellow down You'd treat, if met where any bar is, Or help to half a crown. 20 Neutral Tones (1898) We stood by a pond that winter day, And the sun was white, as though chidden of God, And a few leaves lay on the starving sod; —They had fallen from an ash, and were gray. Your eyes on me were as eyes that rove 5 2 Over tedious riddles solved years ago; And some words played between us to and fro On which lost the more by our love.
    [Show full text]
  • A Commentary on the Poems of THOMAS HARDY
    A Commentary on the Poems of THOMAS HARDY By the same author THE MAYOR OF CASTERBRIDGE (Macmillan Critical Commentaries) A HARDY COMPANION ONE RARE FAIR WOMAN Thomas Hardy's Letters to Florence Henniker, 1893-1922 (edited, with Evelyn Hardy) A JANE AUSTEN COMPANION A BRONTE COMPANION THOMAS HARDY AND THE MODERN WORLD (edited,for the Thomas Hardy Society) A Commentary on the Poems of THOMAS HARDY F. B. Pinion ISBN 978-1-349-02511-4 ISBN 978-1-349-02509-1 (eBook) DOI 10.1007/978-1-349-02509-1 © F. B. Pinion 1976 Softcover reprint of the hardcover 15t edition 1976 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission First published 1976 by THE MACMILLAN PRESS LTD London and Basingstoke Associated companies in New York Dublin Melbourne Johannesburg and Madras SBN 333 17918 8 This book is sold subject to the standard conditions of the Net Book Agreement Quid quod idem in poesi quoque eo evaslt ut hoc solo scribendi genere ..• immortalem famam assequi possit? From A. D. Godley's public oration at Oxford in I920 when the degree of Doctor of Letters was conferred on Thomas Hardy: 'Why now, is not the excellence of his poems such that, by this type of writing alone, he can achieve immortal fame ...? (The Life of Thomas Hardy, 397-8) 'The Temporary the AU' (Hardy's design for the sundial at Max Gate) Contents List of Drawings and Maps IX List of Plates X Preface xi Reference Abbreviations xiv Chronology xvi COMMENTS AND NOTES I Wessex Poems (1898) 3 2 Poems of the Past and the Present (1901) 29 War Poems 30 Poems of Pilgrimage 34 Miscellaneous Poems 38 Imitations, etc.
    [Show full text]
  • The Decay of Romanticism in the Poetry of Thomas Hardy
    tI| THE DECAY OF ROMANTICISM IN THE POETRY OF THOMAS HARDY THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS, By Carolynn L. Wartes, B. S. Denton, Texas December 1978 Wartes, Carolynn, The Deea _of Romanticism in the Poe of Thomas Har4d. Master of Arts (English), December 1978, 121 pp., bibliography, 29 titles. The purpose of this study is to demonstrate that the concept of a godless universe governed by a consciousless and conscienceless Immanent Will in Hardy's poetry is an ineluctable outcome, given the expanded scientific knowledge of the nineteenth century, of the pantheistic views of the English Romantic poets. The purpose is accomplished by tracing characteristically Romantic attitudes through the representative poetry of the early Victorian period and in Hardy's poetry. The first chapter is a brief introduction. Chapter II surveys major Romantic themes, illustrating them in Words- worth's poetry. Chapter III treats the decline of the Romantic vision in the poetry of Tennyson and Arnold. Hardy's views and the Victorian poets' influence are the subject of Chapter IV. Chapter V demonstrates Wordsworth's influence on Hardy in several areas. TABLE OF CONTENTS Chapter Page I. INTRODUCTIONC..1.......... II. ROMANTICISM AND WORDSWORTH . 6 III. THE VICTORIANS: TENNYSON AND ARNOLD . 26 IV. HARDY . -o-*- -. .*** *56 V. CONCLUSION: WORDSWORTH AND HARDY . 100 BIBLIOGRAPHY . .. .118 iii CHAPTER I INTRODUCTION Although Thomas Hardy is generally recognized as a late Victorian novelist and poet, scholars have noted that much of his poetry is more modern than Victorian.
    [Show full text]
  • Proquest Dissertations
    000742 UNIVERSITY D'OTTAWA ~ ECOLE DES GRADUES UNIVERSITY OP OTTAWA GRADUATE SCHOOL Dissertation THOMAS HARDY—VICTORIAN AND MODERN IRONIST by John Joseph Pirth Brantford. Ontario Submitted in partial fulfilment of the requirements for the degree of ^mx>7^ Doctor of Philosophy «L .^©rsita d? *« BIBtlOTM^QUES **~ ^ I960 / // r*'ly ot UNIVERSITY OF OTTAWA ~ SCHOOL OF GRADUATE STUDIES UMI Number: DC53768 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform DC53768 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 UN1VERSITE ^OTTAWA ~ ECOLE DES GRADUES ACKNOWLEDGMENT This thesis was prepared under the guidance of Dr. Emmett 0'Grady, Head of the Department of English.Literature, and Dr. Mariana Ryan of the English De­ partment. Gratitude is here expressed for their interest, co-operation and patience. UNIVERSITY OF OTTAWA ~ SCHOOL OF GRADUATE STUDIES UNIVERSITE D'OTTAWA ~ ECOLE DES GRADUES THOMAS
    [Show full text]
  • Neutral Tones
    Get hundreds more LitCharts at www.litcharts.com Neutral Tones day—the other person's face, the sun, the pond, the trees, and POEM TEXT the fallen leaves. 1 We stood by a pond that winter day, THEMES 2 And the sun was white, as though chidden of God, 3 And a few leaves lay on the starving sod; 4 – They had fallen from an ash, and were gray. LOVE AND LOSS “Neutral Tones” is a melancholic poem that looks at 5 Your eyes on me were as eyes that rove the dying moments of a relationship between the 6 Over tedious riddles of years ago; speaker and his (or her) lover. Defeated in tone, the poem 7 And some words played between us to and fro shows the way in which love contains the possibility of loss. It also demonstrates how this loss can completely alter a person’s 8 On which lost the more by our love. perception of the world and the person they once loved. Through the example of the speaker and the speaker's lover, 9 The smile on your mouth was the deadest thing the poem shows how embracing love always involves risking 10 Alive enough to have strength to die; painful loss and estrangement, and it even suggests that all love 11 And a grin of bitterness swept thereby might inherently deceptive. 12 Like an ominous bird a-wing…. The speaker captures a very specific moment in the poem: the death of the love between two people. Though the reader 13 Since then, keen lessons that love deceives, doesn’t know anything about the history of the relationship 14 And wrings with wrong, have shaped to me (including the gender of the speaker or the lover), the speaker 15 Your face, and the God curst sun, and a tree, creates a vivid, detailed depiction of exactly what the couple’s 16 And a pond edged with grayish leaves.
    [Show full text]
  • A Laodicean Unabridged
    Thomas Hardy COMPLETE CLASSICS A LAODICEAN UNABRIDGED Read by Anna Bentinck Subtitled ‘A Story of To-day’, A Laodicean occupies a unique place in the Thomas Hardy canon. Departing from pre-industrial Wessex, Hardy brings his themes of social constraint, fate, chance and miscommunication to the very modern world of the 1880s – complete with falsified telegraphs, fake photographs, and perilous train tracks. The story follows the life of Paula Power, heiress of her late father’s railroad fortune and the new owner of the medieval Castle Stancy. With the castle in need of restoration, Paula employs architect George Somerset, who soon falls in love with her. However, Paula’s dreams of nobility draw her to another suitor, Captain de Stancy, who is aided by his villainous son, William Dare… Anna Bentinck trained at Arts Educational Schools, London (ArtsEd) and has worked extensively for BBC radio. Her animation voices include the series 64 Zoo Lane (CBeebies). Film credits include the Hammer Horror Total running time: 17:06:20 To the Devil… A Daughter. Her many audiobooks range from Shirley by View our catalogue online at n-ab.com/cat Charlotte Brontë, Kennedy’s Brain by Henning Mankell, Beyond Black by Hilary Mantel, Wide Sargasso Sea by Jean Rhys and One Day by David Nicholls to The Bible. For Naxos AudioBooks, she has read Five Children and It, The Phoenix and the Carpet and The Amulet by E. Nesbit and Tess of the d’Urbervilles and Desperate Remedies by Thomas Hardy. 1 A Laodicean 9:15 24 Chapter 11 9:28 2 It is an old story..
    [Show full text]
  • THOMAS HARDY the V Ariorun1 Edition OF
    THE VARIORUM EDITION OF THE COMPLETE POEMS OF THOMAS HARDY THE V ariorun1 Edition OF THE Complete Poems OF THOMAS HARDY EDITED BY James Gibson M THE VARIORUM EDITION OF THE COMPLETE POEMS OF THOMAS HARDY Poems 1-919, 925--6, 929-34 and 943, Thomas Hardy's prefaces and notes © Macmillan London Ltd Poems 920-4, 927-8, 935-42 and 944-7 © Trustees of the Hardy Estate Editorial arrangement © Macmillan London Ltd 1976, 1979 Introduction and editorial matter ©James Gibson 1979 Typography © Macmillan London Ltd 1976, 1979 Softcover reprint of the hardcover 1st edition 1979 978-0-333-23773-1 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission. ISBN 978-1-349-03806-0 ISBN 978-1-349-03804-6 (eBook) DOI 10.1007/978-1-349-03804-6 The Variorum Edition first published in 1979 by MACMILLAN LONDON LIMITED 4 Little Essex Street London WC2R 3LF and Basingstoke Associated companies in Delhi, Dublin, Hong Kong, johannesburg, Lagos, Melbourne, New York, Singapore and Tokyo Typeset by WESTERN PRINTING SERVICES L TO, BRISTOL Contents LIST OF MANUSCRIPT My Cicely 51 ILLUSTRATIONS page xvii Her Immortality 55 INTRODUCTION XIX The Ivy-Wife 57 ACKNOWLEDGEMENTS XXXlll A Meeting with Despair 57 NOTES FOR USERS OF THE Unknowing 58 VARIORUM XXXV Friends Beyond 59 To Outer Nature 61 Domicilium 3 Thoughts of Phena 62 Middle-Age Enthusiasms 63 Wessex Poems and Other Verses In a Wood 64 Preface 6 To a Lady 65 The Temporary the All 7 To a Motherless Child 65 Amabel 8 Nature's Questioning 66 Hap 9 The Impercipient 67 In Vision I Roamed 9 At an Inn 68 At a Bridal 10 The Slow Nature 69 Postponement 11 In a Eweleaze near Weatherbury 70 A Confession to a Friend in Trouble 11 The Bride-Night Fire 71 Neutral Tones 12 Heiress and Architect 75 She at His Funeral 12 The Two Men 77 Her Initials 13 Lines 79 Her Dilemma 13 I Look Into My Glass 81 Revulsion 14 She, to Him I 14 Poems of the Past and the Present She, to Him II 15 Preface 84 She, to Him III 15 V.R.
    [Show full text]
  • Thomas Hardy S Epic-Drama: a STUDY of the DYNASTS
    Thomas Hardy s Epic-Drama: A STUDY OF THE DYNASTS by Harold Orel UNIVERSITY OF KANSAS PUBLICATIONS HUMANISTIC STUDIES, NO. 36 LAWRENCE, KANSAS UNIVERSITY OF KANSAS ^PUBLICATIONS HUMANISTIC STUDIES^ NO. 36 THOMAS HARDY'S EPIC-DRAMA: A STUDY OF THE DYNASTS THOMAS HARDY'S EPIC-DRAMA: A STUDY OF THE DYNASTS by Harold Orel UNIVERSITY OF KANSAS PUBLICATIONS LAWRENCE, 1963 © COPYRIGHT 1963 BY THE UNIVERSITY OF KANSAS PRESS L. C. C. C Number 63-63211 PRINTED IN THE U.S.A. BY THE UNIVERSITY OF KANSAS PRESS LAWRENCE, KANSAS TO M. D. W. Preface THIS BOOK was written because of my admiration for Thomas Hardy's The Dynasts, and because of my feeling that the last word has not yet been said about it. What I want to do is reemphasize the meaning behind Hardy's descriptive epithet, "epic-drama," To that end, I have retraced Hardy's career up to the moment he renounced the writing of novels and became a full-time poet. Poetry, for Hardy, was always the highest form of art; it was the kind of literature he wanted most to create. For years he had been contemplating a large work, a poem on the epic scale, which he needed time to write. It may be no exaggeration to say that his entire life led up to The Dynasts, and that for him it represented the supreme artistic work of his career. Since The Dynasts has often been considered primarily in terms of its philosophy, although Hardy declared vehemently on several occasions that his poem should be judged on artistic grounds, it has seemed worthwhile to reexamine the views that Hardy held on the nature of the universe and whatever gods exist.
    [Show full text]
  • Sheet 3 Objective Questions with Answers
    Sheet 3 Objective Questions with Answers Q. What is Hardy’s life span? ---- 1840-1928 Q. Whose works do best portray topographical features? ---- Hardy’s Q. The term, topography, in literature means? ---- Local, regional colour Q. Hardy’s first noted novel: ---- Far form the Madding Crowd Q. Far from the Madding Crowd appeared in: ---- Cornhill Magazine Q. Who was generally suspected of having written Far from the Madding Crowd when it appeared in the magazine? ---- George Eliot Q. Which are the two idyllic love stories by Hardy? ---- Under the Greenwood Tree ---- A Pair of Blue Eyes Q. Which novel does best represent Hardy’s gloomy philosophy? ---- Tess of the D’Urbervilles (1891) Q. In 1910, Hardy was awarded: ---- The Order of Merit Q. What was Hardy’s profession before entering into writing of novels? ---- Architecture Q. What is the central theme of Hardy’s Far from the Madding Crowd? ---- The contrast between innocence and sophistication Q. In which novel is Bathsheba Everdene is a character? ---- Far from the madding Crowd Q. What is the thesis line of the Tess? ---- “‘Justice’ was done, and the President of the Immortals had ended his sport with Tess” Q. What is the theme of Hardy’s The Mayor of Casterbridge? ---- Man is not the master of his destiny Q. The city of Casterbridge stands for: ---- Dorchester, the place where Hardy was born Q. What is the sub-title of Tess of the D’Urbervilles? ---- A Pure Woman Q. Angel Clare is a character in: ---- Tess of the D’Urbervilles Q. Which novel by Hardy is known as “the tragedy of unfulfilled aims”? ---- Jude the Obscure Q.
    [Show full text]