~ 3f7}9-J 7~ ttl.....}, ; -5] Aj ?'J-719-J :'l11 is0] .::z..9-j ::q-%01] 3.J.: (Dear Dirty Dublin) ~ -'f-~ ~ 'T ~;: -3l oJ1 ll1 ~ ~ oJ-5}4 ii}~ t:j-. (1) ~ .:r:-r:: -5}t:-]9-J A]9-J 7}?'J- ~Jl. 3f%-:':]oJ1 Al ol"C711 T~51.:i!.. ~SO-9 AJtj.9J 7~Aj ~ ol~71J IT-.78*}2 ~;:7}, :E. .2..!9l%'?l -5}t:-].:r:-.9J9-J -t~{1~ 01.!f-~t:j 0 1 A1~9-j:::t.-$J "-#..9i ~~"(philosophyoflife)oJ1 %ii}o:j..:z. $I 1frol~ o11.:s:.;:ol'1:l -11~ A1/-}~ 'T ~;:7H '1f.A.Jjii}2,A} {ft:j-. 01 ~ ""*/.!:j.£.'£ i5}t:-]9-J J:\lJE/.!:j~ ::q-%01Lt.::z..9-j ;{j°1 B1.Ji!..':<~ ?'J- 01]/.1.'{l 3f%~ -T;)ij1?:~.Q..~ ,.J.,}srni!.. ;: ~ol ~.:e 9-j9-j ~{10] ~ Dj0] 7-]U,}, 0] 131 <:d.ir~ l:l}J:11:£..::z...si] 5 * ~ 'iii-'=" 1987>d2i:. ~..ii1.-¥- ~~"Ji- 3O. AaBl <>1] $j"iiH "l-¥-"i - 67- 68 ~1Ii :* iMli ~ (41) -6~ r1 ~ 1840l;'l 6~ 2~ <:§ ~$] %A1..1f-A ] JJJ- Dorsets] 41 ~ ~ Dorchesteref A1 ~ A] ?,f ~ Higher Bockhampton 0]'4~ u}~oJ1A1 101] %o~$J ~01.32.- E1101~4. 'it.J-]$J Dorset~ cd~ 'ifr'-'::"$] %*-¥-oJl A1 ~JJJ--6}Jtl %~ ~$J ~ -5J'"tl ~{oJl ~ ~1 ~ o~ -¥- 9j ~ A] ~ 0]01 A1 *75 ",,}~ $J ii\R ~ J8- ~ ~.AJ-~ 0] ;j-::&j '8"}.31. ~ 9J- ~ tolL 75 All ~ 2...32.- /I}"iJ ~ ~ ;; 01~~ 71;j-%0I1 '8"}97}?f1 ~ "r.B.. .%IlfB ~014. (2) 1862\1. 011 '8"}9 -:: 7,1 ~~ %'[:1 :Q'8"1 ~Vil .:g--¥-'8"}71 ~ '8"r9 itlJtl2..S-. /,14. 'it"'] 011 "'iJ Aa 0] kJtl .:;Jr.:§:] *~7}.B.. ~lllAql Arthur Blomfieldell zf .31.%5101 9"~ /ll"J-~ ~~'8"}'9 .31."'9 7,1 ~0I1 41 ~ ca",*~ 7'1 Ja2..'9, "On the Application of Coloured Bricks and Terra Cotta to Modern Architecture"it-:: -t::~ 2..S-. ~ ~ 7..1 ~7r %"iJ ~~ (Royal Institute of British Architects) 7} 4-9 '8"~ -:: .AJ- ~ ~715:. -6}9J- 4. .;::L"~ tf oj -¥-~ '8"~ r1 ~ -¥-5:..:§:] , .2..ilJ! 4, Shakespearesj '6011 /I}-'r ~OJ '8"}.31. ra J::,i .ii!...9j.32.- tf7} 6711 ~l, ~ ~ ~ '8"}~"'~ ~~ '8"1 .;::L ,,~tf )(a'@.~2...32.- *A~~ '8"}47} ¥71°]: 7J.47~$J 7J.~ ~~.31. -r~oJl -1l~'8"~711 ~t:j-. Darwinef 0101 Spencer,' Huxley '6 ~ J8-~ AJ:D:}~, John Stuart Mills] :A}%4-$] .l+,J;.J-3!j ~0I1~ Anguste Comtes] .AJ.~"r$J ~~'6 ~. AJ~'8"~~A1 AJ..!i!..~ .AJ,J;.~,J;.J-oJl -:r~ .!S..31. 71* .:;Jr. -"d oJ- ~ ~ ~ 2..'9, Shelley, Browning, Scott '6 $] .J-j.si/- Golden Treasury ~ 4f*'8"~.31. ~ 7.'P~2..£ ,J;.j~ ~71 "'j~~4. oj~71j '8"r9 .AJ-'it" (2) Hardys] ~lJJ:41oJ 117]41 +~-& -?.!?- -"]'Zl$] -.f-'ti"'~ -¥-'Zl'Zl Florence Emily Hardyz] Hardy $] ;:0:]11 oJ1 $] '9-"&}etj ~ The Life of Thomas Hardy, 1840~1928 (London: Macmillan, 1962) oJ1 $] 7·Hl-. 0]: 0]-3!.9..£. {l.PJ-~i5~t:]7~ F11lf "T*7-]~ .:;;t~ AV,JO]A]1fr .::13~4.:JL .A]~7]~ %:t!.i5] ~* .:;;t ~ ~-e- 0~1.-J 4. i5~t:] $J 7B cUA~oJ] Ai 1l1I~.:E..~ ? ~ ~ -o-J-~ ~ .:z..7~ 11 ~~ ~ ~ cij ,A,l:iJ-$J %;if1cUl']], zi. % 1870\':l.oJ] {}~~.9..£. 1frlf ~oB ~ i5~.:JL 1874\':l.oJ] Ttlr:.joJ]Al ~:&i5~9J-.9..~ 1885\':l. o]-V-oJ] ~ Dorchester t~ $J Ai FJj Max Gatee] Ai ,J,] cU $J ~ B~?;1l lfr'i!'] £. 'lJ. J-~ ~ u} {}~ Emma Gifford..9J ~;>:B ~ .z}~ ~ .:;;t 0] ~ 4. ::3[7}, ,J,] cU.9....£.Al 7~;>:J- %,AJ '9JJ.1J. 7]7,} ~ ~7J1]~ oJ]u~~ .:z..~..9J A~-V-oJ].'£ ,J,]cUoJ]71] .!f-E..~1~ e§{}..9J ~;<..i 01~71 uiI-W:- 014 . "When I Set Out for Lyonnesse"9-} 7,[~ ~ '3i! %~~ Ai/'a A]~ A1 ~ 0] oj] pHi ~ g 'tlA~ -¥-rg i5rcij ~cij-=1 .:;;t.9....£. pJ.o:t~4 • .:z..~llf °1:5f. Q.j= 30\':l.7J:~ %.AJi5}711 .::<}~ -;:t.,AJ.~ BJ:M..i5}7\1 ~4. 1871\':l.oJ] Q)t!J2....£. ~7,}~ 31 -;:t.,AJ,cU Desperate Remedies~ {ljj]J~ ~..£.E..4u}~2.. If, zi: 4 g oJ1 lf~ Under the Greenwood Tree(1872)..:c Leslie Stephens] ~A} ~ llJ~~ ~, Dorset Al13J-oJ1 Bl'6ll Wessex4~ ~c.'ti t!J~ ~ ~ g.9....£. ,J,}%~Farfrom the Madding Crowd(1874) :; °1 a: ~ ~ c;,1 ';:4. (8) ::i:.,AJ.7}£.,J,1$J i5}t:]Sil %~~ 7S A1 ~ .2i!.cij~ The Return of the Native(1878), The Mayor of Casterbridge(1886), Tess of the D' Urberoilles (1891), Jude the Obscure(1895) :; :5f.ll,}71Sil /.,}%oJ1 °1.E.'tl '*=.71 $J :t!. ~~, *7}~ 7il A~ ~ -V-~]i5}.:JL /.,}7} :;%$J. .2 ~ i:l1 $J *cU ,J,]..£. %o}Al71] i5}9J- t:J-. (4) i5}t:] ~ 0] uiI$J {) 73 ~ 9- g:iJ- 7'[0] .£...£.i5}';1,J,1 A}~ $J <{j.::<}~ ~ -e-i5}.:JL ~ 9-. Perhaps I can express more fully in verse ideas and emotions which run counter to the inert crystallized. opinion-hard as a rock-which the vast body of men have vested interests in supporting. To cry out in a passionate poem that (for instance) the Supreme Mover or Movers, the Prime Force or Forces, must be either limited in power, unknowing, or cruel-which is obvious enough, and has been for centuries-will cause them merely a shake of the head; but to put to put it in argumentative prose will make them sneer, or foam, and set all the literary contortionists jumping upon me, a harmless agnostic, as if I were a clamorous atheist, which in their crass illiteracy they seem to think is the same thing... (5) (3) Hardyi=- Desperate RemediesoJ1 'i1:'A~ The Poor Man and the Lady~ ?!1i=-t:'11 ;>;1'-1-;:<1711 ~.!;!..:oJ 01~711 "1:1}%!-"J::%J13 7iJ.2~" 'li~~ "!j ~ -9-§j'8"}~ BJ~..2..-.£. A]~ FdJ~r:J-2 £'-'£''8"}2 ~;<1 'iI, '8")-J:joJ]71)~ 'i)£.ijO} A) 7]91 .ij-'8"~o]~Jtl S=./,@~ ;; .91 'it7W (the viewless wings of poesie) ~ 4 A ] sri ij 4 A~ 7...f'8"}1-J, A~ -.£.-£- ;;<13\'1 01 OJ. ij ~ ~ '8")-~.3L ***:: ;c:l-"Jijij ~01 A)-4;<1~ ~'8"}~4"4~ pJ-°1 l--)-ql--)-~101], 01.;1.:: S=./,@ ~ ?:H91 -¥-'iJ-..2..-.£.-¥-EJ J:li!o-Jl--)- A) ~ .-Y-~ .AJ/'j~ t~BJ{l-~ 3J].~~ .;1...2..-.£. .!t.'li4. (6) ~\191 '8"} 9~ ;<}.AJ91 A]~ S=./,@.!t.4 ~~.{t*01 Jls7}'8"}71£.. '8"}~9-. o-J?l~:::' '8"}t:]~ 15~.91 -"J3i'lS=./'@.;rj- Wessex Tales(l888) 'g 3.:el91 '0::~~~ ~zl:~~oJ) 1898\1 ~ &.91 A) ~ Wessex Poems ~ sri l.1J 711 ~ 4. 301;'1 oj) 7J. ~ S=..A@ oj) *:: ;AJ 0J..;rj- ~ ~ ..2..£.. zi: ~ /,Hsexuality).;rj- ~ .;&Al1£.. 'g oJ1 .ij-~ *-&W01l--)- S=.~ "iJ.kI) ~ ~oJ] 1i1 ~ A) B1oj] £.. *T'8"}2 Charles Dickens o].:if- 7}-"J f-*BJ:~ "8';:-.91 3j-7}-.£. -¥A:£lo-J ~1~~1011, .0] All 50A1] .:if-lolJ~ [email protected]..£.. 'it:: 30\i~ A].-Y-7]oJ1 ~'il'8"}711 :£l~ .;1.014. '8")-9.91 *'d.-'8"1 zI 60 \i ~~ 7]zl:0) ~1fr91 S=..A@.;rj- .:if-1fr91 .A)-.£. zl-7-.f 30\i-3J -n-*(;ltJ5}-) ~:: %-e- -9-~01~;<] ~.:z..91 A17} S=.~oJl ~41W~ ~7]'8"} 0 P A] The Dynasts7} %~41..2..£.. qJ ~'8"}c:9 ~4. (7) 1 ~A~.91 1i1 o]:~ 3j-:: 19 -r 130-"J..2..£ T"9 -1l ~.1J 'd- *rJ:.91 -=fA] ~ ~ 91 3-¥-3}..2..£. 1904\1-¥- DJ 1908~ oJ1 0).§,7]71};<1 /,1] ;7;}~1 011 7J.;'io]A1 ~zl::£l~:ct. The Dynasts7} '8"}t:]~ ~2 'T~91 3j-%'li;<] t 1:11~ 91~0]4 '8"}tl4 £..(1920\i1i19} 1930\i1i101]~ Z:'8"]~ .:z..~71] A~7...f'8"}~..2..l--)-), 0] 0F~pJpJ~ 'E]3j-o] S=..A@7} '8"}901] ~A1t "A]'li '8"}t:]".91 O,H3 ~ ~7j~4 '8"}*t:J-• .:z..~ 0]uJ] o)p] 6o,.\117} ~"'.{t \"I:: ..':iL;:>J 01~ 4. The DynastsSij <:>J) '8")-t:J t 0)n] q]iJ-~ Wessex P()ems9} Poems of the Past and Present(1901), Time's Laughingst()cks(l909), Satires of Circumstance(l914), Moments of Vision (l917), Late Lyrics and Earlier(I 922), Human Shows(l925), Winter Words (l928)~ .R..-¥- 8.:el~ A1~~ l.1J~4. (8) c:97]011'iJ-zI A13j-%~ 't'T~ 7,91 ~JJtJ.oJ1 ~~'8"} ~lolJli1 ~ ~ rJ: 0] t:J-. pJ-\i011 0].§,~1 '8"}9 t Jude01]711 .:g-;;:ij- ~Hi~ -¥-if- 't: li1~..2..£-¥-DJ PJ0l1 -{c~~IA ~~ ~ ~~ 'g Max Gates] ~~~~ PJA}~4. 1928\i l~ IO°J. 88.k1] ~ ~7]£ .:z..7} ~;AJp}l:11£ .-Y-~lxj /'11.J-J~ 1Xl1..]-A} 3j-:: tHE..\Jo1 ~o-J~4. ~:: .:if- 2~oJ1 -¥-'8"121Io-J'8"}~rej A1'li :A}.AJ9j A~~9j S=.~;;:ij- ~~l.A.§..Jli..-'-DJ A}~91 "A1'd (6) Life, p.230, "the viewless wings of poesie":C Keats.9] ~ "Ode to a Nightingale".9] ~ .;zJ 1Hl. . (7) Hardys] ~'1l-c. ~~;;i}- "'·H·;;j]% ~,,~o]] ~~. %tl]:C ~~4'- oj'ii!;oJ-¥-D] ~H·~ j!,O]~t:J-2 "'1 /.] '1-~;;j]% AJ7<~% ~~~E...!2. ~±/'J The Trumpet-Major (1880).9] /,HHH 11}'8"12 ~4. (8) Winter Words:C A}.:f ~%~. 71 JL~"(Poet's Cornerjef <{[-:>:J-:7'].£. ~ "Lf4911l.:>:a ~ .5!..f "i=-%'8"}~oF"*lil -3! 019-. ~~:L .91 {l:>:J- ~ /-] /-J oj] /-1 ~~ s] oj /-] ql.91 3':/;}3!j- ~:?'~ .JjLql oJ1 lJ} 71'±'E..7} %~ Stinsford.91.R :§:lol] ~~]s].J?. 'if~ ""Hl~ :§:]-:>:J-'8"}aj 7.,[~ 'it q~]~.:§..lJJ~EJ.91 1:j:tlZ:..JL ~oJ] 'it~~4. (9) 1~j-.A1.91 4-.AJ-~ B] *'8"}aj Galsworthy, Gosse, Housman, Kipling, Shaw ~.91 .Al PJ ~ :3)-7} ~ 0] :>:J-"'11 ~ -'tJ. 0] ~ 01 4~] ~.:§..lJJ~ EJ ""}-'tJ..91 :>:J-"'11 ~ oj] ""1 ~ 9- g 3!j- 7.,[~ 7,}%:&j ql ~:§:]-7} 'if 0}'8"}1:j9}4lA:J.j~.91 ~~ ql'tl..91 0J~~ "6j1'0}~ 1i!.ll] '8"}aj ~9-. On the same day the ashes of his cremated body were buried in a niche in the Poet's Corner of Westminster Abbey... A spadeful of earth sent by a Dorset farm laborer, Christopher Corbin, had been sprinkled on the casket in the presence of his wife, Florence, and his sister, Katherine. (10) Jude the ObsCUre7}:3)-7}.91 ~1 ~ 7]7} 0}"L1 1f~ ~ Jl~ .9]. T{l oj] J:11 ~ BJ~2..£. '8"} t1 ~ :If 1j}:?'~ -¥-ql Florence Emily Hardy.9] 0] ~~ ~oj 1919\'J. 7}g 9-g3!j- 7y£0] '*9-. Speaking generally, there is more autobiography in a hundred lines of Mr. Hardy's poetry than in all the novels. (11) 0] PJ"oJ] 1fr~g ~~ 3!j-7;}.9] T7} 9J,g ~ -¥-ql~,4--c ~2."Lf, -f!:- -i::.,f.9] Al:If-oJ]""l ~if~ B}J:11.£., 0]-3!~ '8"}1:j7} *~"Lfll] ~]~:&j ~.AJoJ] ~{).'8"}~ttl ""]ql'?J ~ :3)-7} ~~.£.ql:>:a~ J:11~0]4. Florencez] t: -3!2..£. sjoj 9J,.£."Lf .AJA1].£.~ '8"}1:J.91 .A}""1::.tl0]"Lf 9-~0] ~~ The Life of Thomas Hardy~ 7}~:r-] F.B. Pinion:? "('8"}1:j).9] ",,]~ 1i!.~i;~ "r~ -3!".£..£. 7,}"r'8"}aj o} ~4.:iL 77}A] PJ-'8"}.:iL914. (12) 0]oj] %'8"}aj 7}:>:J- :rr~ .AJ"'1]~ Satires of Circum' stanceoJ] .AJ 9-PJ:- q~] A:J.j~.91 'tl. J:11717} :L.91 ~=A~ ~ BJ:-ol1 7~ ~ *,1] ~ 1:;1 -3!;<1 ~ ~1 ~:;rj- Al-%.91 71 ~ol ::J.. .9] ""]3}(~fF).91 7]-f!:- .,f"J.] 0]u'j ~ :±'~..9] :: (9) Life, p.447. (10) G. W. Sherman, The Pessimism of Thomas Hardy (Rutherford: Fairleigh Dickinson Univ ersity Press, 1976), p.450. (11) Life, 392. (12) F. B. Pinion, A Commentary on the Poems of Thomas Hardy, (London: Macmillan, 1976), p. xi. 01 "'11<>11 %01 9J,~ '8"rt:l.9.1 7~7~ .>-1~<>11 "11'1:1: 1l~/iJ.J.il."iJ~ '8"rt:l.>-1<>11.>-1 :>.r:>.J.:&j S.±il- ~ "rtf T~11.:&jo1J:9 %~.!f1~7H- ~ .5!.9 ~4. 72 ~7J.g "%c-1.l-J 0J:~ "*:A1~, .l-1'li.911toJ1.l-1 .:L'11.5!.. .l-1'li.91 ~PJ-011.f.l-1~ 7Hl ~ ~~D1111-:: *Jtl:: ~J ~ 4- ~~E..5!.., -'tl;3J~~.5!.. .l-1'li.91 .l-a:4oJ1 '11~ %~~'li Jif«f 01 .l-Jfi]"8"}2 01?! 01 7~ 'li.l-}.91 .91 u1.5!.. ;ij T.5!.. ~ '51 '* D1 ~~ 9-2.£ * 4- ~~ 9-. o}ic;: '5£.AJ-oJ1.l-1 -"J:.s;:i -1'!:- "8"} t:i.Q:J 7~'liA}7} .l-1'li.Q:J ;"J--"J-itl.91 0J7a~ l~Hl9} 7~.l-aoJl a::.g"8"}-:: ?!014~ .:L .91 ul ~ 4-;..J ~"8"}cij *01 u}"il-"8"}I:t. .:L 111%:: D1'1'l ?!'li7}? .l-1'li "8"}t:i.91 D1'1'l1l~7cJ, 5=.0J, 7cJi;J ol .:L .Q:J lfrD1;sj "'PJ- E/:4 a::. g "8"};: ~ 'li7}? 1-iJ;: oloJl '11 ~ 'if ~ .1-1 'tl.Q:J 711 'tlAH' .1-1;<6' ~.Q:J BJ:~:4; !Q-711 "8"}~r:j ~014. (13) .:Lc-11.f "8"}t:i.91 -4-71 ~%~.5!.. -% 4-~ -%'1:l~.91 *~~.5!.. 'li~ ~~ .912*°1 -T.E.c-1~4. *~.Q:J ;;<~.l{l~.5!..-'6-'1:l :r..%:Ar~..91 'i!717-l1 They worked on hour after hour, unconscious of the forlorn aspect they bore in the landscape, not thinking of the justice or injustice of their lot. Even in such a position as theirs it was possible to exist in a dream. In the afternoon the rain came on again, and Marian said that they need not work any more. But if they did not work they would not be paid; so they worked on. It was so high a situation, this field, that the rain had no occasion to fall, but raced along horizontally upon the yelling wind, sticking into them like glass splinters till they were wet throngh. Tess had not known till now what was really meant by that. There are degrees of dampness, and a very little is called being wet throngh in common talk. But to stand working slowly in a field, and feel the creep of rain-water, first in legs and shoulders, then on hips and head, then at back, front, and sides, and yet to work on till the leaden light diminishes and marks that the sun is down, demands a distinct modicum of stoicism, even of ...alour. (14) "-?ii4-'rl.91 '7}"(a starve-acre place)4~ ~;;:d ~ 7}:::tl 01 ~l2f~ Fllntcomb-Ashell.q s] ~% (13) Cf. "unusual and very happy felicity in catching and fixing phases of peasant life," %. R. G. Cox (ed.), Thomas Hardy: The Critical Heritage (London: Longman, 1970), pp.3-4 %a:-. (14) Thomas Hardy, Tess of the D' Urberoilles, ed. Scott Elledge, (New York: W.W. Norton, 1979), p.238. ~u}6. .s-} c1 -'-] $J l'lj- 01 oJ1 3Il- ~ ~-1- ::i1-J-~ ~. "We Field-Women"o14 ~ .1-1011 Al £.. ;.~;.~ ii}Jil ~~ -q1 'ti4. How it rained When we worked at Flintcomb-Ash, And could not stand upon the hill Trimming swedes for the slicing-mill. The wet washed through us-plash, plash, plash: How it rained! (15) *~.3:.%;<}~O11 t:11~ ii}Ji~ 0~7J3!} .::L~~ %-'-J-011 t:11~ ~~i- .3:.a:j%~ :±.-'-~3iI- A1011 Al :tl::tl:il1 -'-,J-JLoj ~ 9- ~~1--} o}u} qg3!} 7J~ "Epitaph by Labourers on Jas.~"4~ A11*~ *201]A1~if:l ;' All day he cursed and called us brutes: Then Time said 'James, 'tis night!' Fear floor'd him: Shame pulled off his boots, And Death put out his light. (16) -e-}Ji~ A}:2l~ A] 7-fO] , "1i!.9-~ ;<}*"r~~ 'F£" ~7'J-"(17)oj11t9J-~ George Eliotef 1ol1ii} ~, 19A~171 OS~~ t7ij~'ll *~~ ¢f7} 'j}711 ~c:;1il1 ~1i!.~ol; 'll ~ ("dissimilar fellow-creatures, men of many minds, infinite in difference") ~ ~ .::L~..91 ;.~ ~ ~7..i ~ 1i!.201] 31 ~a:j ii}2 ~~ r:j-. (18) 1902\i ~ il}Ji~ ~01] £.. £"A11 E ~ "workfolk" 011 ;;&~ 1i!.27} ~~~~l, 50\i ~011 lol]ii}o:] 0] ~..91 .2J0J~'ll 1£"..91 ~3\:l.~ ~ ~ii}71] 1--}0}~~1f 1";;114~ Jf-~~ 7@. 3!}7} °1'71!9 ~ r:j-2 !!::.2 ~~ r:j-. (15) 7,f~ :i<.lj, p.340. ~ ~-1t-$J 7]j,.7'}.li.c£. ::6."11 .s-}t;]-'-]$J c.l]c='E..-c T.R.M. Creighton (ed.), Poems of Thomas Hardy: A New Selection, Rev, ed., (London: Macmillan, 1982)~. 0]""] 4::- a]7]oJ] 4-~0] liIoJ ~7'] ~%. ~.2..c£. ~!J;J.~ 7cH'~ ; nooks wherein wild herbs grew for the cure of divers maladies were pointed out readily. (19) -?~]A~/-~ .A}'d;;J} .A}~"il-%o]-y- ,T~~ ~*;;J}:J... ~*~ 'B-.A].A}'ll ~.l!JLil 'tl~o1] lil~ .A} i?Jo] '8"}J:.]~ 7]i'!:-~'ll )(aA~9J-~-Y-:J... .A}i?J~ ]:I}£.. AJ-AJ~ ~'ll~ 4- !j.H] ~4. 0] 'xJ-{).;;J} 4-4-9} cPa~ -?~] A~C.7~ '8"}J:.] ~ Jofr~ ~ AJ-AJ-ii;j ~ "iSJj 11 ~ ~ PJ"w ~.£ ~ 4. 1tJ.;Q:}~ *~A§j"il-~ ~~~~ ~o] oH~4. ~%7]o11 1:.:;1. ~4~ ~~;;J} :J... *~(~:: §jlJef):: B~.!E..ilo} A]lil ~717,}%~ %p]'8"}J:j PJ"'8"}.A}';} '8"}1.f~ J,]lil;Aa.AJo]~4. Lyell.s] .A] ~ -Q:]-, Darwins] .:d;Q:}-e;;J} o}%c], Auguste Comtes] ....J ~f~ -:: 'll *~ .A] ~ BJ"~ ~ ~-Q:] ~ ~7-l], ~0].AJ--Q:]-~ 4'-AJ-~ ~7-l], AJ~~ ;;J}-Q:]-~ 11J~~ ~7-l]£.. A,;l78'8"}9 ~lil78~~ ~ ~~ 7i!;Aa~~£.. EE, PdA]?:~~£.. /-..l..¥..'8"}9l-4. ?:J;Q:}-e o]~~ .AH1~ 7~~9} %-;-0] ",g~~ .g.5!- .£1i:j~ 7}~H -!j'-1:1~ .A}~o] o]~ lil~'8"}raA~ -19-*~0] ~ ::~g91 ~~'tl-~ .!:i!JH! ~ ~~£.. s:j 1:1 Ej ~ 4. (20) In 1850 the age is still one "of fusion and transition.... Old formula, old oprmons , hoary systems are being thrown into the smelting-pan; they are fusing-they must be cast anew ..." In the seventies men are still searching-"amid that break-up of traditional and conventional notions respecting our life, its conduct, and its sanctions..." By the eighties "the disintegra tion of opinion is so rapid that wise men and foolish are equally ignorant where the close of this waning century will find us." Though the Victorians never ceased to look forward to a new period of firm conviction and established beliefs they hed to live in the meantime between two worlds, one dead or dying, one struggling but powerless to be born, in an age of doubt. (21) 0] c~ ~ :B %7] ,A]lil ~ .g.5!- ;Aa ~ ~ -¥-'8"}(~f;lf) -:: o}f .::::r~ ~£.. '8"}J:.] s:j ~ 0] ~ 4. '8"}9 -:: 101] ~ )(a ~~ ~£.. -:: ~.A~ '8"}71] 7] *..ill.~ 01 ~~Jij ..ill.§j s:j ~ °1-y- %~ ~ %A .A}i?J'8"}9l-~ 1.f (19) Life, pp.312-313. (20) Walter E. Houghton, The Victorian Frame of Mind, 1830"'1870 (New Haven: Yale Uni versity Press, 1978), pp.68-69 %3':.. (21) 7J-.g.. ;&j, pp.9-10. Houghtons] ~A1 The Hardy country is of course Wessex: that is to say mainly Dorset and its neighbouring counties. But the real Hardy country...is that border country so many of us have been living in: between custom and education, between work and ideas, between love of place and an expe rience of change. (22) uj-;<]'2f2..§" -t]-t:19.1 7B°,1A]-o1]A-j .:z...9-j :3}%.9-] t]A~C1] 7d-~ .A]AH "r-i::- .9l u1~ T~-r::)-"i:l .:z.-3l ~ .:z...9-] %\1:-51 --',3A11-t]-2 -&%~ %.J.aoJ -?;t°14. l'1J01'i ttl] AHl-C37Em)!{l -?;t~i2. ..2.. EJ All 111 7 ]- ~ u]-Lf 2*~i2. 7]-~ ;,;:]-~~ 7]- ~1co'j;ij .!L111 !{l-r::)-. 7-j %~ ~~C11 ~ 01 ~ ~ (22) Raymond Williams, The Country and the City (Frogmore: Paladin, 1975), p.239. 76 -"~, 'ii '"J-~] oJ1 Ai :A17'i ~ A}ir~ '6] ::il-J-~~ oj] At 01:: ti} "workfolk"$J 2 'd- 011.f ..Jil..ot 1l;; He was lying on his back in the sun, thinking how useless he was, and covered his face with his straw hat. The sun's rays streamed through the interstices of the straw, the lining having disappeared. Reflecting on his experiences of the world so far as he got, he came to the con clusion that he did not wish to grow up. (23) "6}ti7} *'1J.:T..%:A}~$J J:11$J ~ ~"6}o:j o~"i': qJo]1.f 1fr~~'tI Ag 'i'.§ol "i': ~:: ~ 'r[~ ~ +1J. 'tIl'l], oi 2:=..:;;1. 0]1.f .:: '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.' .:Li:.11.f 0pil7l1 ~~ %3So~7} 7}'o~ -?(J-llJ-O] 4-;;:-4 '::<~-;;:-..9...:£. 7J-'4A1 A1 .1.1£ ~~ ~ "t} a:j o~ ~q. -?l-iM-$.J O}0]£1-j7} 0}TJ. 4- ~q. "t}ti$.J 019}7J.-:: ojj.:s:.7} 7,{~"t1l1J Soldiers, at worst, know what they are doing, but these animals are denied even the poor possibilities of glory and reward as a compensation for their sufferings. (24) "6}ti $J qJ "b.:!f- .::r..9-j %/-1 oj] ~ :A}.AJ 0] \=t;j ~2.£ .:s:.~;; ~~ .:T..%:A}$J {j"..9..£ -?(io~ ~9-2 sjo-J ~~q. (25) "t}r:j7} q1l:1J4 A}?J-$J .Al'il0l~g~ .::r.$J ~~ -¥-0J oJ]l:1} 7]3Ssi\-$.J A}"J-4 ~~(~~) .:4 A}~~ qg q A1 sj1}o}'d- £:].AJ-4f$J A}?J-2.£.5:.. ~oJ~q. Emma~ \=t3\'l4..2..tl11% (23) Life, pp.15-16. (24) 7,J--€:- ~, p,303. (25) Sherman, The Pessimism of Thomas Hardy, p.450. 77 ;;q- AJ-AJ.91 A}'% 01 4 ~ BJo-1 ~ AJ-%Ol 1-1 .Jj!-l-}5:.. "5}Lj ~ 014 '8"}39, 4. Carl J. Weber~ "Poems of 1912"-'13" g 7}Bl7:J Shakespeares] Sonnets~ Elizabeth Brownings] Sonnets from the Portuguesess o}-~c.~ q:j~~.1,}AJ- :::z.91 A~O~9+- ~% ~BJ.£.-.£.-¥-E1 0,['8"};A}~ Z]3iJ:412..-.£. 4'-AJ-'8"}o:j 2i!..~4. O]A~] '8"}t1A]~ T ;(~141 2..-.£. *A.:j '8"}o:j A]'il91 BJ0-141 AJAJ"4 g :§;j-'il '8"}.:iL a. Aa7.4 g ltog ~ ;;;;}"'ll 'il t:~] 0] 011 '5f Ai lfro-191 7ij ~ -4 ~ i"- ~ --',J-Jri 2i!..71 -.£. ~4. lfro-1 (ironyj.s] 0-1 ~ ~ :::z.Bl 60-191 eironeiaq] F11 a: 7~ ~ 01 +J:11 -.£. t1i t!'] ..2..l=JlA~ *~'8"}jj1 l:lJ. '8"}~ cr- (28) i;i 4~ ~ Republic011A~ °1 oJ g (26) Carl J. Weber (ed.), Hardy's Love Poems (London: Macmillan, 1963), p. v. (27) Peter J. Casagrande, Unity in Hardy's Novels: Repetitive Symmetries, (London: Macmillan, 1982), p.2. (28) 01 "il}$] 11l %-& i"-§.. D. C. Muecke Irony (London: Methuen, 1976), pp.13-24~ %30:. ~. ~ ~~oJ1A~-c- "irony"9};L Jt!.'<9~ ">JJ~"~ "BZ";; 31d-~.91 .91 n] ~ 'ToJ] ~ %50171] ~ 4. o}o]~"'-l;: 0JBJ~~~ "7};; ;; ~ "AJ§}~ BJ-oJ"(situational ironyj e] ~ 4- ~l4. (30) 7~~;;<.:j ....J§}.91 BJo-J (irony of events) ~:A], :ot%.91 TAj ~ c.1 ~A1.91 BJoJ (dramatic irony) ~:A]' world irony, cosmic irony, philo. sophical irony 4#1 ~ Ji~!9;: %:%IP.:j BP..1~~Al.91 BJoJ (general irony) ~:A] 7,}oJ], Zfi ....J (appearancejs] ;oj....d-(reality)A}O].91 :§fq:[ ~ *oJ~] ~ ~ Jf-3::.~4;: 7]~ T3=. :!'E;: ~ c.1 7) ~3Z., 0] ....J.!f!$] ~c.1o]] J:11"5R .!f-:Al~ *7--}C7G'.i:)91 ~J'~;<}7} ~~'9, o]~liJ-~ ll~~1s} -¥-:A]91 T.:s:.~ A~]A]'8"};: &.q:[~ ....]40] ~4. 0]~1~ BJo-J;;<.:j A1 7.-}0] Ahi=.~ ..2..~.l!.1.f JiZfi oj] .;;-~ !9 PJ -c11~l]~ ~~;;<.:jq} iL:i!J-~ 1.fE}l.1j~:A]~ q}J'~:i!J- A~]7-l].91 ~~ ~ %J'Jj'8"};: ~+ 0]4. In irony, emotion clash... it is both emotional and intellectual-in its literary manifestations, at any rate. To perceive it one must be detached and cool; to feel it one must be pained for a person or ideal gone amiss. Laughter rises but is withered on the lips. Someone or something we cherish is cruelly made game of; we see the joke but hurt by it. (31) (29) "A broad term referring to the recognition of a reality different from the masking appearance." C. Hugh Holman, A Handbook to Literature, 4th ed., (Indianapolis: Bobbs-Merrill Educa tional Publishing, 1980), p.236. (30) Muecke, p.25. Muecket ironistz} :'If%fs-rt vB 5 The door swings softly ajar meanwhile, And a pupil of his in the Bible class, Who adores him as one without gloss or guile, Sees her idol stand with a satisfied smile And re-enact at the vestry-glass Each pulpit gestures in deft dumb-show That had moved the congregation so. Aa.:3]:A}.91 .:c'i::l~ 7}'i1 JAol] 7'}4-oi~ ~~ oi~jlJ-J.:l1.91 ..£.~ol .:z.~ ~7(J'8"}-t:- :i:t.ij.91 ;roll E:..0l ~ 01 7}ltj-,1- :i:JL~ :§:1 §j-(caricature).91 -=t~l 01 4. '8"}t:j~ -%;;<}st *u-J -.£. 7}~:tJ.: 01 ~1 ~ :i:%~ .91..21~ 'j;i: 0] ~4. .:z.~10 "In Tenebris: 1".91 ~ T17~~ ..!i!.A. Wintertime nighs; But my bereavement-pain It cannot bring again: Twice no one dies. 01 Al~ jj.91 Q;jAJ011 7}71},;t- 1{}oi;;<..:j .AJ-%.91 'd4j-~-.£. olf-oi~ ~4. .AJ-.AJ.91 2%4fol1 01 n] ~qJ. -"'}ii:l-~ °l;;(jl 4 Al ~ ~ j[°1~~E..~ zi: 2%.o:t -¥--'i:1:'8"}4~ Q;j-",~ol 1k.91 2%~ 1: "*:;4fol1 {]§j-'8"}2 91~ j[0]4. :5:+ 6'd~~~ olAl~ "~-%~ ~~;;<] ..£.s.0/-"'}tl} ~ .AJ-~1 2J"':Al *'8"}~ 4. /7a OJ. 01 ~ ~ .:z.~ 7}~/ %5]~ 4 Al .AJ-~ ~~~. /~ol 7J ~ ~ "* ~ OJ ~1-il. /.:z."1 t+ ..£.:::. .91+{] 4 4012/-¥-(~):§:1 uJ- 4folH 714~~ :A}, /~ g 01 ;j:J ~ 4-~ ~~~."-.£. ¥~ ~ 4. (32) A}tg-'8"} ~ olst.91 -'HH%!3Ij), -¥-.:Aa.91 .ApJ, ?l}~ "8"}711 ~~ 7}~4f~ .:Aa°J., °l..£.:::' 7~'U.:A..:j'1l "-¥-:§:1uJ-"CUnhope)o], 4--,1-7-1%010 7'J-7'J-~~.91 olul;; "8"}~4. (33) Karl Solger~ tr'T~ 0}01-.£.t1 ~ ".A~1711 -it-us g ::aj(11~~~ 4]-2"~ JX11 <11*~ (32) ~ -c~o11 '-t4'-t-c .:s:.-j§- 'ti ~ ~ "M;;<} ;;<}--0..91 ~ '?oJ, (33) "the recognition of the fact that the world in its essence is paradoxical and that an ambi valent attitude alone can grasp its contradictory totality," 7J-~ :iilJ, p.19. o1Vl A~ ~ %. 80 42 "6}9J-4. (34) Kierkegaard.E, 1841\101] 1.f~ ~{C The Concept of IronyOi]Ai o}ol£l--j ~ ~~] ~ ~;A~ ~ a':.7,i.2.£ <:d7ii A] 01 -"~ 7...}"6}2 ~ 4. Irony in the eminent sense directs itself not against this or that particular existence but against the whole given actuality of a certain time and situation...It is not this or that phenomenon but the totality of existence which it considers sub specie ironiae.(35) %Aa ~ lfro-] ~ .J-d-.J-d-~ 0] -c--'tl ~.2..'£. 7] CU?:~ ;<1] f8~ 'i'-;.J ~ .l-J CU CU "6}9.'£. "6}o::j ~ /117-1J 78.J-J *::'. "~;A~~ %-;<1Pa"Oi] %~ -1JJL~ 13Jol.J-d-~~ .£.-"1] ~ 7}'o"6}jj] ~ ?;!.2.£ &CU4. 1:l1.iiL ~ ?:;[ ~;;:j~ "Hap," "The Subalterns," "Nature's Questioning," "The Unborn," "New Year's Eve," "A Plaint to Man," 'g ~ 1l1*"6}o::j "6}9 ~ cu 7J .:;Jj- Ai]7-1J~ a':.7,i .s:.~ ~ugOi] %t~ 1il;['d~'5J4~ ~~~ .l-J~ ~4. .:z..~~1.f "6}Lj~ lfro1~ ?:HlCsub specie ironiae) 01 °P@jj] "~;A~~ ~~]Aa"~ {CAilOil trT~ ""11,' iB..J-J-~ ~~ -l'-;<1pa ol1.f 7~CU.J,aol ~.A~"8"1 1l~ ;A~ £] ~ ?;!::'. o}l--j 4. -'Come hither, Son,' I heard Death say 'I did not will a grave Should end thy pilgrimage to-day, But I, too, am a slave!' ~A}--aOJ :<1J-ITOi] 1.ft4-'d- a} *7}A]~ )..Hl~ ~'oA}Oi] t:1lt~ ~.A~"8"] 4-%~~ "&4CCj" (Subaltern) Oil *.:;Jj-~ ?;! 0]4. 1liI ~ ~ AJ iI ~ t:1l t~ AHagent), 71 7-1] ~ CU 4-"Tt-ll ~ auto matons] lOll ::<..1, 0l?;!::'. ~Pd ~Oil 7}77}~ Cosmic Ironye] "8"}* 4. .:z..>a l!I] U}A] Jij- :<1] 5l@ ::'. 0] ~ 71] 1t'd-4. We smiled upon each other then, And life to me had less Of that fell look it wore ere when They owned their passiveness. AJiI~ t:1ltYA}~ *d::i10i] 'i:l-:U 4-%Aa, -¥-~A]7} ..2.. i5Ji'i "~oJ ~""11 AJxll:(j. :::z. .l-}1.f~ .£. ~oJ ~7ii T.:z..~~Al &0].£.:Jt" ..'fl"i!~ "T~ CCjAJ.~ aJ:::aol 0]Jf-01?:]2 ~~ ?;!014. 4'-.l-J ~olJL a:.CU7.9~CU *d::i1£ '1J.%"6}47} ~Oi].2j-.l-i lll£d:: "1.f"~ CU7.9(we, me)«] iB..J-J4j-~ ~(life).:;Jj- 0H'-~1 ~71 ~ ?;!.£ ~o::j;ij ~ rtl-"6}4. (34) "the contemplation of the world's fate in the large." 7J~ ;l]j, p.19. oJ1 Ai ;<~ ~ %. (35) if~ -"J), p.67oJ1 A1 ;<~ ~%. 81 "Nature's Questioning":s:.. q}%i5}7117-Hl~ 3i'l-a:.il}~ ~~:31'li /-l~/-i 7-}'ii3r}3i'l-'il~ /-] 'li ::; *.91 ~:31 AJ-AJ-~ ~~ .91 'li :§}il}o:j ~.A~.91 .:z-~:A~ a:.;;1~ :AJ ~~4. "~~ l.1i 4.!i!..1-] A~~~, 'ii*,/~J8:-, OJ 111], ..:::z.ijJ?. ~~ 11 1-J--¥-./.5'..-¥-~ ~ B}4.!i!..~ .;r£.ij7}/~A ~..ii!..oJl/-i °F'0:13!2 "J-idol \:;}o}'1,l~ 0}01~ ~4." 0]~711.91ql:§}~ 7-}c:;1:: "-9-ij7} ~ oi 71 o]?-iJ?. '1,l:A]? .../ oit.El 7iif]~ 1JlJ~].91 ~o],/~J?. 41 ~ ~:: ~7J-il}E1/.!i!..1f3J! ~:: 1J.i>~ idoi/§]**o} -9-ij ~ ~ ~J?.1-J-Ai 1-Jl ~-44 %0}~~7}?"il}J?. ~~oi 7-J~il}~l']] ptA] ~ ~ T~ "1-J-" 7~ 'li.91 /-]7-J- ~~ %oHi4. Thus things around. No answerer 1... Meanwhile the winds, and rains, And Earth's old glooms and pains Are still the same, and Life and Death are neighbours nigh. 7-a-'5-.91 ?d0J-~ AFJ~ +oJ1:s:..!d3r} AJij4~ 71'9-..ii!..:31 ::*~oJ] lJ~'@.-ij~q}%~ §].91-?-~ 7} 7ij ql:A~ 0]s. /-i :AP~ 'li *±ij ~ ~:§}E1 oi ~ ~ j,0]4. il}LjoJl711/-i 1'lJoi:31 AJ-AJ-~ol -T.Al17}£]~ j,:: JE~~ o}ol~1-](verbal irony)9} ~:: ~ 'i?-~ ::='l4oJ .J.J-.91 %'9 0] 1-J- 1-Jl i!J]o]Fl.!!...91 1J.7ij~ij~/-i 0}0]-.£.1-] (dramatic irony)~ ~/-]~ 0]oH4 Mueckez] "{~]:31 1'lJoi"4 ~ B} /-]'li.91 Al];>J]%~ "8J/-a il}J?. "6R~il}oi 4-~ %% ~.91 ~ij~/-i.91 lolJoi ~:: %~0]4. B}Toi "J-il}7-}'i:J. il}9~ "AJ-%~ 1;froi"7} -r.Al17} !li 4J?. ~ u:tI 0] "AJ-%" ~ 7}:AJ- ~ ~ 4-~ ~.AR ~ "!-~~] ~ .J.J-%o]ooJ il}9 /-] ~ ~.a~ /-j3r}7} 0loJ1 if]~ "8J°H}~'li ?l014. Lance Butler~ il}9~ olift'i:J..:s:.~ A]:31 il}oi, OS~-q-,JPJ-5. ~ -¥-7-a~ "8J01 AJ--q-(negative metaphysics)0] 4 il}9{4. (36) ..:::z.?-i1-J- "-¥-7-a~ ~O]AJ--q-O]"O] BJ5./-] 1'lJoi:31 /-J-AJ-~ ~ AjA ~ 71}€{0] id~ ?l0]J?. .!i!..'i:J., ~.R.~ j,:: /-]'li 0] 7}.::tl ~-q ~ 1-Jl %°1 471.!i!..4 .2.ill '"'1 ..:::z. AJ-AJ-~ ~ "8J ~ oJ j,0]4. oi71/-i -9-ij ~ il}9 7} -1J .R.il}711 ~~1 AJ1A2j 'iiif]7] ~ 1: ~1~2j :3}7}, ~]~.91 /-1'li, -2: T~~]:31'li 71'<:J3r} 7S~~oJ] /-.J. /-]'li~~ 7i"B ~71~ 3J!.R.7} ~14. As a poet, Hardy dwells on this earth. The past in his poetry is what he remembers from personal experience, or what he has heard from the elders, or what he can infer from the relics and buildings and burial places left behind by generations now dead. In some of Hardy's poems there is re-examination of the self, but most of these are concretetly domestic, prompted by a sadly commonplace human experience, the death on November 27, 1912, of his first wife, Emma. (37) (36) Lance St. John Butler, Thomas Hardy (Cambridge: Cambridge University Press, 1980), p.175. (37) Paul Zietlow, "Thomas Hardy, Poet," in Richard A. Levine, ed., The Victorian Experience: The Poets·(Ohio University Press, 1982), p.185. 82 Iirli :* iliili • (41) W.H. Auden~ The Dynastsoll l.-f4\!: 5<,i--"J-(:;Rl:).9l .1-)401l.-f The Return of the Native .91 3J. 7'JoJ].1-1 ~:09:AJ ~ T;Jj 2.91 .1-J 4oJ).1-19.J- ?,f0) 7~ ~ .91 1f ~ 71J:l1 it} J:.j Sij "pR Sij til x-J" (hawk's vision) ~ :7cJ 1; ~ ti} ~ ';:""11, (38) Shelleys] ,*-.::r~ ,2..5.. ';: ~'\:tAR (skylarkjs] ~-:O]~oJiL 3':.~~oJ o)pJ:A]9.J-~ Jll-J:l1£-., :A]--"J.91 Tj1]~~ *JE~ 7-jl..-J:-B-}~ ~ 0] pR.9l .9l:A]~ PJ-%, pR-9- ~~it} til%1{j°14 '6}3R4. :AHH:l:iEl:) ~~~, ~.J.~)~'ll ~~ .::r511)7'-4..'2.-£-., :=E, ~pJ31-)- --"} .91 --"J--"J~.91 ~~-1l°)4'i1 .::LoJ)71)~ 0) oj] --"Jg'6}~ .1-)~ Jlj-A~]9.J-.J.a4J7} ~9:J~ .:;;10]4. F.R. Leavis~ '6}J:.j ~ .1-]~ 'll ~ '6}71 ~ 'T7'1 '6}o:j Great TraditionoJ).1-1 .::L ~ How small a proportion this is does not seem to be generally recognized: his rank as a major poet rests upon a dozen poems. These are lost among a vast bulk of verse interesting only by its oddity and idiosyncrasy, and as illustrating "the habits that somehow become strength in his great poetry. The main impulse behind his verse is too commonly the mere impulse to write verse: 'Any little old song will do,' as he says. And, often to the lilt of popular airs, with a gancherie compounded of the literary, the colloquial, the badly prosaic, the conventionally poetical, the pedantic, and the rustic, he industriously turns ant his despondent anecdotes, his 'life's little ironies' and his meditations upon a deterministic universe and the cruel accident of sentience. (33) '6}J:.j Sij .1-]~ oJ-¥- *0) $a 7}'6}pJ;'1 S'.. :i:.'1=-~ ~ ~ .1-] 7} "E113}~ ti}4"(a sea of mediocrity) oj] %~ .:;;1 ~ . %7,}..'2.-£-. A] 7..J-it} Richard Carpenter.E, 0) 9.J- =rl] ~_ 7JO) '6}~ $a 7}~ '6}~~ -cq), (40) oj '!i~::: Leaviss] .:lfr;'J- ~ 7}~] .>fr~~ ; 2, A]7..f~ ti}~ p}~) °J7)~ 2::71l.-f 7'J-¥-~ ~B1'6}~ A)£-, ..R.~'6}~t:;i ~0)4. '6}J:.j;'1~ {) ; (38) W. H, Auden, "A Literary Transference," in Albert J. Guerard, ed., Hardy: A Collection of Critical Essays (Englewood Cliffs: Prentice-Hall, 1963), p.139. (39) F. R. Leavis, New Bearings in English Poetry: A Study of the Contemporary Situation, (Harmondsworth: Penguin Books, 1963), p.53. -.5t'1.91 A~ 1J:3i~ -1'!:- li} A] 'tl9-] ,..\1]11];;j-1..J1 A] ~1. <:il~ oj].£. 'tt111sl A] 'tl- 2i!.4 ~ ~ ~~.§..~ A]7} *4-9-] -2j-:::t.i:!l~ 7}A].:iL~~-t}~ ~;<~ is3~~ !!'Ht-4~ AFJ~J£i:!l 3fr111oJl9J.4.(411 01 °1°1:71 is3~01 -t}J:j9-] :::t.-"J3lJ- A17} A~.§.. %*-t}~ T.£.01.:iL.:z..9-] :::t.-"Jo] ;,];<.:jO]4~7}.:z..9-] ;']7} :::t.-"J~0]4~ .::::.~9-] ~7}A] ~;<..i°171.£. -t}4. 4~;:' °1oJl 3fr~LyttonStrachey~ °J:°14. The originality of his poetry lies in the fact that it bears everywhere upon it the impress of a master of prose fiction... What gives Mr. Hardy's poems their unique flavor is precisely their lack of romanticism, their common, undecorated presentments of things. They are, in fact, modern as no other poems are. The author of Jude the Obscure speaks in them, but with the concentration, the intensity, the subtle disturbing force of poetry. And he speaks, he does not sing. Or rather he talks-in the quiet voice of a modern man or woman, who finds it difficult as modern men or women do, to put into words exactly what is in his mind. (42) :::t.-"J The Return of the Native ~ ~~ ~oJ TTl-} ~ ; There are some heights in Wessex, shaped as if by a kindly hand For thinking, dreaming, dying on, and at crises when I stand, Say, on Ingpen Beacon eastward, or on Wylls-Neck westwardly, I seem where I was before my birth, and after death may be. I sit under a tree, and feel alone: I think of certain insects around me as magnified by the microscope: creatures like elephants, flying dragons, etc. And I feel I am by no means alone. (43) 7o}'tl~~ *7J;;<.:j &./·J4 A}'>'.l\4 ~J,~.£. ~}.a~ 01 7-}~~ ::a~~;:. ;,]oJ~g, -t}<:iji} 5'..i: ,>.~ os, 0eJ-'\1, A}%, -::;~ r11 A].91 ~EJ-i:!l cfroJ] A~ ~7J1] {!-0}7} ~ ~ ~ T.§.. pJ 71] ~ jl°]9 ; (41) Muecke-e o}0]5'..t1 7} 7};<.} ~~~ "J-":'l oJ]i:'Zl ~~.91 2% 4.;'-,>.Jo]9 ~~ ~oJ]A~5:. dramaef }.~ 7}rJ- .9J-'>'J~ ~,l.J-0] 0H3R~7} '8"Fe ~~% 10;:[;;<]2 ~)4(pp.3-8). (42) Lytton Strachey, Literary Essays (New York, 1949). Julian Moynahan (ed.), The Portable Thomas Hardy (Harmondsworth: Penguin Books, 1977), xv. <>1] ,..11 ,,~'U %. A. Alvarezi=- ;g o]~71]5:. Judo} i::,>.J:oJ0147] .!i.4'=" -"]:oJ"0142 '8"}~4. Alvarez, "Jude the Obscure" in Hardy: A Collection of Critical Essays, p. 121. (43) Life, p.I07. 84 /-J21 o'l <'1 7};<] JI..'tl, .ifi'il, 4'-/-J-:TI-\:l %..£ .:::z.21 +4f-oJ] /-1 *±;;.J ~ ~71] ~ ~ lol}%'tl ?;! 0]4. 0] *:::t.;;.J ~o] /-1.5!.. ~'5'1/-1 0]01:7] ~ SMO-]~4'i1, ~A1 :::='~'i!11-*]7} 0J-~ "-'U-% 1:117}21 't 'tl"~ 4± *%~~ JE"{l.Q..5!.. 2t.-'tl4. o-]~~ Bl°J74~ /-}%4 ~'B91 f{!-%~., 91'U:9t7} Al'tl91 l'IJO-]~ /-J-/-'}~ ~ 0117--}:9t~?;!~ -1f:-u.s-s}4 ~ ?;!0]4. -S}t191 A17} 01 01:71 Jl±~ ~io1 7};<12 ~~ .:;>{~ ""1°,1°1 TB1(p~)-r~7} °pl ~'t: ir}l:.j %OJ:9t 011121 B].3i1..~ .::g-~~ l1J8--/-}S:loJ]A1 /.a.7'.}~ 1l~7;:j4 :TI-i@o] ~4. 11"6'- BJ4E.. 9} uJ.a~ 1870';1"1:11 oJ1 %± ;<~ ~ir}71s.. ir}9J- -r-.j A1 'tl21 7;:j tB 01 :::t.J.,i 4 A1011 -'f-5f- l'IJ:~ 'tl. .:;>{ 0]4. (44) "Ah, Are You Digging on my Grave?,,~ °J.6joJ1A1 BJ-4E.. ~.6j~ 1fr~'6}2 ~ .Q."lil, "A Trampwoman'sTragedY"oJ11.f"4\l74.7'a217.'j'i:f~ 11~;A-'1'tl B}4.:s F11 u}014. !'E. 01.:;>{ ~ "The Rash Bride"9-} /o}%",-] 01 01:7121 ~~T/.j4 117~71- 7]91 ±1l91 %~ ~ ~ 4'-9-3-4.J2...£ * 4- ~4. 'ii:-B--}~ +~- ~1.0]7} 7}\l~ Jrl'5~ /-J-7;:jir}o'l :9tA}~ :"<1-iCJ$J :'<.}Ll.5!.. '~PJ ~ "The Ruined Maid" ~ ~ ~ -1f:-'i:foJ1 71 Tir}.J2. ;A.}%ir}~ ~ zl 01 0]'7] ~ ~~ 2...5!.. qJ ~ir}2 914. '''.:::z..ul1~ ~01 7J:--1l 7J2 ~it~ 2f-..s.--'5--'g-7]"'J.9-3-~lOj]/olA11 l..i] ~ 31-1:-"i'J=~ 2t.-<.1l-1-]7} -%"!f l'IJir}3R4./::E..:::z.. ;<}.:::z..uH:l- ;A.}7J~ .:rl-¥-'tl ~oJ]..£ ~ o-J%i!l3Ro-J !'/ '/-1 ij:]-o] "4~ir}pJ 0Jo]4-E- 1J.'5'1 'li ir}<.1 71}.' .:::z..1.O]7} 0J-'9)19-." o]~711 ?J1 :tl-r-21 '*~~ -r-*] ; 0] 0]=7]ir1-:: ir)-r1 A].9J ll~7JoJ]:: ;<}<;d3i]-.9J 1;lVJ-W -'H~.9J ~3i]-'tl .9-J 'tl~ 7Jw3i]- o}-%<'~ 0) ~71] ;<}~.9-J :::t.AJ, ..£A11..§.$J /.J~.9}1J."6'-, l'IJ-4.:s ';;0] ~;<]Jtl-A]'tl ;<}~$J T~~ 7J-7..j-..£ W'*" ~ ir}.J2. 914. .:::z..:: fl:-"§};: "'tl:j- 7J"fiJ oj] /-~ B) ~ ~ ~ oj) l:J1 ~ ~7]1l" (the love of the uncommon in human experience) ~ %4i-/-] 7'] E..5!..~1 ~ 7-] % ~ 4-0-] of ~9-2uJ ~ 4. (45) Art is a disproportioning-i.e. distorting, throwing out of proportion)-of realities, to show more clearly the features that matter in those realities, which, if merely copied or reported inventorially, might possibly be observed, but would more probably be overlooked. Hence "real ism" is not Art. (46) °1 .,9:).£~'il .$1Jj~$J pl"§}~ ",,);<1.5!.. 7@.:g.~ -¥--¥-$J 3l'i'if ~BJ-oJ] *0] \!9 7-l 1..-J- ("The Bride-Night Fire"), 'tl A}*AJ.2..-.£. ~ir}9 ~<'-].AJ p1* \t~ol ~Jtlir] oJo-]1..-J-;<] "*ir}..£~ oJ *3lJ- ~ 1:11 $J JI.. ~ 'if;'~.£ ~ '1'1]"1] ~ ("Her Second Husband Hears Her Story") .6j $J :::t.A~ (44) Cf. "My thesis is that the characteristic Hardy novel is conceived as a told (or sung) story, or at least not as a literary story; that it is an extension, in the form of a modern prose fiction, of a traditional ballad or an oral tale." Donald Davidson, "The Traditional Basis of Thomas Hardy's fiction," in Guerard(l963), p.15. (45) Life, p. 150. <46) 7J:~ "'Jl, p,252, Ad-.9J A~jjl oj Ai"'€ ij ~ .2..£-£ l.-J-Ei-l.-J-;<] "j-, ~4 ~~ {j.A--1 o£-~ "5d Aj-:;rj- 11 Aj- A}o].9J 5l] ij~ 3L a=. Al 7' ] ~ J:tl:oj ~ Ad-Ad-~.9J ; AJ4. 01 ~ ~oVd-~;<--1 '1J-Pl).:iLij.9J A)~ i>}t:l7j- .:i<-] g.2..£- 1: A]ii!.. '1J-"4~ "Domicilium"oj) 1.-]A'd: q;jz:..q;j.E..~~ ~Vd-.sj ;AaAl~ +T" J:11~~o14. ~TI ~;<~$ij ~.;:-~ a=.7,ioj] ~~ .3iJ: 'a:1j 5'..A.110] ~P112ij~ sj~71 utlToj1 A1~.sj ~~~ 7~~:1j ;<3""1 7 ]- ~~"8"}.:iL 9.l~ ;;;iol t:f. tt}ij-""l "The Unborn" 7J::, ~'tl. i>] <:§ -"1141 'il A) oj] A-].s:.. ":~~"A ~ 'i1 A1] ~ 'li .Jt!"'ti-~ 'tl.';:-.2.. .5'.. T 7i1 i>}-c- -?it 0];;1] <:§ A11:1j 'il /'a ""1 ~ ;'fj)"'B i>}~ ;;;i 0) o}1.-] 4. i>} t:J.9J 4l;<~.9J; 'Strange that ephemeral creatures who By my ordering are, Should see the shortness of my view, Use ethic tests I never knew, Or made provision for!' ~o] <:li::d-~ .$pJ-:ij- ~:A]~ Jf-q10J ~ AVJ:? %~~ t-VJ-O],*~ ~;<~~ <:li~01]s.. *Tt-} 2 \f~ ?;! ~ "FJ:3:J2...5!.. ;<}7]'tl pJ:ij- -c:~*~ ~p}%~ *~.R ciJ-fT-0]:A] ~4'-~ B]"t 0] ot L1 4. lO}o]l'11 ~ ~ '* ~ ~~ ciJ 7~ l-J.2...5!.. JpJ-SJ ~ ql7,}~ -&j q1 0] "J.11;(~ ~:A]" ~ i"-;(~ t-}01] Bd %.Q..5!.. JEAJSJ ~ "~ A}~ 13n ~ "(sinister matejr] ~ ~-S-} ~ "The Convergence of the Twain" ~ ~;<~~ °to].5!..L1s.. p}%7}:A].5!.. ~4'-~ B]"t:3:J B];;i0] ~ 4'- ~4. ql7,}~ *"d01] lOfl~ ~:? q1 pJ0] B'}~:3:J -'€~ ~ 7~ ~ g %t-}71] ~A~ SJ9J ~ ~0]4. B,}~~ Al]7}:A] "'F.R~ .R:±'~ 6],,] 'tlif~ B}lOfl.5!.. ~~~, itl-"J-:ij- -"tl-"J-~ *oJ~]' ~~~, *7+(7Gtf)~ Y1;<]:A}, -j)~~, £.q1~ A]7..}.9...5!.. -"J?'J~ 4'- 914. .::z.'ll1Ol] -:!CAl] ~ l-l]~~~~ £. <:d~ A].7+~ ?;!0]4. A]<:li~ 0J?'J-0J A}l'1101] lOflt] -:!C:A}.::z.lOfl..5!.. £.<:d~ 4'-~ ~.9..E..5!.. o)?;!~ 'tl Al] '-+ 7t?'J-~ s: <:d oJ ?;! 0]4. A] <:li 0] £.q1 ~ 7t?'h}~ .::z.l!-J 4'--1!j- ~:At..5!.. 7J ?;! 0]E..5!.. ;<] ii 71}:A] {}Jin~:-t-}r:]~.Jt.4 ;;fr'B;<.:j<:li AJ~~ BJ~~ Ts..7} l-J."d~lOfl-"J ~:A}Zj .R:±.7}-'e ?;!2...5!.. ~4. -S-}r:]~ ~~:3:J<:li A]~:?, ~t-J .!f-~-y. ~i!1J2c.J.5!.. JEitlSJ9J~ tell, <:li::d- *"8 01] lOfl ~ ~;i1]:3:J <:li l-J-%~ ~:A}.5!.. ~i tJ 4'- ~J. 4 . .::z.'e-~ '-+ 0] 7il.!f-.x. Alexander Popes} 7J:? 18; ~0]9J2..9 -il"}r:] ~ on?'a:? 4~] A~ 6..5!.. lOfl JESJ ~ q1.::if-~ *~-%%A}§] ~ 4. (49) -il"}r:] ~ ~?'J:3:J .9...5!.. %jZ:.%jE.8} tlJj ~ 7JO)-il"}~ ~~A)<:li.9...5!..A~ 4~)A~6.~ :A}<:d, <:li7,}, ;%]:±,7} ~q1-il"] on; (49) Noorul Hasan, Thomas Hardy: The. Sociological Imagination (London: Macmillan, 1982), pp.1-12. it p}e::. -5}to1 -"1.91 llJ-oj oJ1 -'&~ 'l1-1- 87 . 0] .l.] Bibliography Creighton, T. R. M. (ed.), Poems of Thomas Hardy: A New Selection. London: Macmillan, 1982. Hardy, Thomas, The Return of the Native. New York: W.W. Norton, 1979. Hardy, Thomas, Tess of the D' Urbervilles. New York: W.W. Norton, 1979. Moynahan, Julian (ed.), The Portable Thomas Hardy. Harmondsworth: Penguin Books, 1977. Orel, Harold (ed.), Thomas Hardy's Personal Writings. Kansas City: Kansas University Press, 1966. Weber, Carl (ed.), Hardy's Love Poems. London: Macmillan, 1963. Hardy, Florence Emily, The Life of Thomas Hardy, 1840"'1928. London: Macmillan, 1962., Burgess, Anthony, English Literature: A Survey for Students. London: Longman, 1979. Butler, Lance St. John, Thomas Hardy. Cambridge: Cambridge University Press, 1980. Carpenter, Richard C., Thomas Hardy. Boston: Twayne Publishers, 1964. Casagrande, Peter J., Unity in Hardy's Novels: Repetitie Symmetries. London: Macmillan, 1982. Clements, Patricia and Juliet Grindle (eds.), The Poetry of Thomas Hardy. London: Vision Press, 1980. Cox, R. G. (ed.), Thomas Hardy: The Critical Heritage. London: Longman, 1970. Ellmann, Richard, James Joyce. Oxford: Oxford University Press, 1959. Guerard, Albert J. (ed.), Hardy: A Collection of Critical Essays. Englewood Cliffs: Prentice-Hall, 1963. Hasan, Noorul, Thomas Hardy: The Sociological Imagination. London: Macmillan, 1982. Holman, C. Hugh, A Handbook to Literature, 4th ed. Indianapolis: Bobbs-Merrill Educa- 88 tional Publishing, 1980. Houghton.rWalter E., The Victorian Frame of Mind, 1830"-'1870. New Haven: Yale University Press, 1978. Leavis, F. R., New Bearings in English Poetry: A Study of the Contemporary Situation. Harmondsworth: Penguin Books, 1963. Levine, Richard A. (ed.), The Victorian Experience: The Poets. Ohio University Press, 1982. Muecke, D. C., Irony. London: Methuen, 1976. Pinion, F. B., A Commentary on the Poems of Thomas Hardy. London: Macmillan, 1976. Pinion, F. B., A Hardy Companion: A Guide to the Works of Thomas Hardy and their Background. London: Macmillan, 1984. Sherman, G. W., The Pessimism of Thomas Hardy. Rutherford: Fairleigh Dickinson University, 1976. Willey Basil, Nineteenth-Century Studies: Coleridge to Matthew Arnold. Harmondsworth: Penguin Books, 1973. Williams, Raymond, The Country and the City. Frogmore:Paladin, 1975. Widdowson, Peter, Hardy in History: A Study in Literary Sociology. London: Routledge, 1989. A Study on the Irony in the Poetry of Thomas Hardy Kim, Kil-Jung Abstract A survey of the works by Thomas Hardy readily reveals the fact that irony is one of the most prominent features of his poetic imagination. A collection .of his short stories bears the famed title, "Life's Little Ironies." At least two of his eight books of poetry are given titles that inform the author's ironic cast of mind unguardedly: Time's Laugh ingstocks and Satires of Circumstance. One of the many spirits that populate his voluminous epic poem, The Dynasts, is named the Spirit Ironic. Hardy was an ironist by nature and choice. Deriving from Greek eironeia and Latin ironia meaning 'dissembling,' irony is a broad term referring to the -recognition of a reality different from the masking appearance. So in irony there are two distinct dimensions of reference involved: ironic' vision and ironic expression. Hardy's ironic vision is certainly encouraged by the mood of uncertainty that ruled the transitional period in which he lived. His poetry reflects the age's conflict between the old and new cultures, and his timeless Wessex was actually what Raymond Williams called "the border country." Hence the poet's persistent sense of nostalgia for the irre deemable past, which is the single comprehensive motif behind his various lyrical poems about nature, man, and love. The conflict between theology and science was another characteristic sign of his age, and here, Hardy's burning sense of incongruity, as is amply reflected in his "philosophical" poems, becomes quintessentially ironical. The situation of man's fate is incongruous in the total scheme of the universe where the indifferent Will presides replacing the Christian god. This is the cosmic or general irony for Hardy. An irony arises from a sense of incongruity-disparity between reality and appearance, but its quality is determined by the degree of detachment on the part of the ironist, The more the poet's personal voice is subdued or detached, whether out of moral conviction or sheer unconcern, the nearer the poem moves in the direction of the satirical or the humorous. This accounts for the mildly satirical or humorous note in Hardy's philosophical poems. His so-called pessimism is, therefore, less gloomy than it imports to be. It is not so much Hardy's theory of meliorism as his ironical imagination that saves the poet's . philosophy of gloom. In fact, the reader experiences greater gloom or pain or whatever in his pure lyrics where the poet's authentic voice is more centrally present and where the sense of irony is more subtle and complicated. Finally, Hardy's predilection for the dramatic, as manifested by monologs, dialogs, and narrative elements in his poetry, should be read as both the support and result of his ironical vision and imagination. The poet's incomparable compassion embraces divers elements in nature and even human mind as individual members in the family of the universe. Their living voices jar with each other constantly and sadly but within the common bounds of the greater family. This warmth in the cold universe, enacted by way of personification, might be the final irony of Hardy's ironical vision.
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