THOMAS HARDY the V Ariorun1 Edition OF
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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 -
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. -
Tiny Creatures, Trophic Pyramids and Hardy's <I>The Dynasts</I>
STUDENT ESSAY COMPETITION TINY CREATURES, TROPHIC PYRAMIDS AND HARDY’S THE DYNASTS ELLE EVERHART Thomas Hardy has a tendency to focus on the small. Occasionally stopping narr- ative, he will pay detailed attention to the physical environment and the small, often unnoticed, creatures that populate it. This connection to the natural stretches across Hardy’s fiction and his poetry, including his epic verse drama The Dynasts, published in the early years of the twentieth century. Through the surrounding prose, dialogue, and the characters themselves, The Dynasts demonstrates Hardy’s assertion that the natural world is inseparable from the humans that exist within it. In this piece, I address these creatures and argue that we can read Hardy’s narratives through the ecological concept of the trophic pyramid, a hierarchy that attempts to structure energy flow through a particular ecological system. Reading Hardy’s narratives in this way allows us to envision the theoretical orientation of these creatures in relation to their human counterparts and further imagine their position in the overall structure of the narrative environment. Keywords: The Dynasts, Animal Studies, Ecology, Trophic Pyramids, Ecocriticism NSECTS AND OTHER small nonhuman animals rarely receive any critical attention. Creeping and crawling their way through any number of literary texts, I these tiny creatures remain untouched, unnoticed, and unloved. Their presence, though, reminds us of the physical earth we inhabit and the living beings we are related to, including the little animals that we (more often than not) tend to forget. Thomas Hardy’s work often pays close attention to such tiny creatures, pulling the focus away from the central human characters to examine the impact of these humans (and “the human” more generally) upon the lives of the animals that make their home in his narrative universe. -
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. -
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. -
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. -
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 -
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. -
?. M Ot, Minor Professor
THOMAS HARDY AND ARTHUR SCHOPENHAUER: A COMPARATIVE STUDY APPROVED: Major Professor /?. M Ot, Minor Professor f-s>- eut~ Director of the Department of English. Dean of the Graduate School ' THOMAS HARDY AND ARTHUR SCHOPENHAUER: A COMPARATIVE STUDY 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 Jerry Keys Denton, Texas June, 1969 TABLE OP CONTENTS Chapter Pag© I. INTRODUCTION 1 II, THE PHILOSOPHY OP SCHOPENHAUER ....... $ III. HARDY AND SCHOPENHAUER 31 IV. TESS OF TEE D1URBERVILLES AND JUDE THE OBSCURE: AN EXPRESSION OP SCHOPENHAUER«S PHILOSOPHY $2 V. THOMAS HARDY1S POETRY: AN EXPRESSION OP PHILOSOPHICAL DEVELOPMENT 73 VI. CONCLUSION . 96 BIBLIOGRAPHY 101 CHAPTER I INTRODUCTION The purpose of this thesis is to show the influence of Arthur Schopenhauer's philosophy upon two of Thomas Hardy's novels and selected poems from six volumes of his poetry* Both writers saw the first cause of our universe as a blind, unconscious force, and this study will concern itself with how closely Thomas Hardy's philosophy resembles that of Schopenhauer and how Schopenhauer's concepts affected Hardy's writing# Hardy a product of the. philosophic and scientific rebellion of the nineteenth century. His aesthetic response to this realistic view of nature and the universe wa-s sensitive and intellectual. Hardy af*©iee contemptuously of "Nature's holy plan" and stressed a view of reality in which the first cause of the universe wa*s unconscious of man's suffering and desires# The unconscious quality of the first cause is the essence of Schopenhauer's concept of a blind, striving will to live. -
A Bibliography of the Richard Johnson Collection of Hardyana “Hardy’S Se�Ings Always Intrigued Me” “HARDY’S SETTINGS ALWAYS INTRIGUED ME”
“HARDY’S SETTINGS ALWAYS INTRIGUED ME” A Bibliography of the Richard Johnson Collection of Hardyana “Hardy’s Se�ings Always Intrigued Me” “HARDY’S SETTINGS ALWAYS INTRIGUED ME” A Bibliography of the Richard Johnson Collection of Hardyana Prepared by Lyle Ford and Jan Horner University of Manitoba Libraries 2007 The University of Manitoba Libraries Thomas Hardy Collection: An Introduction _______________________ The start of what was to become an ongoing fascination with the writings of Thomas Hardy came for me in 1949-50 when I was in Grade XII at Gordon Bell High School in Winnipeg. At that time, the English requirement was a double course that represented a third of the year’s curriculum. The required reading novel in the Prose half of the course was The Return of the Native. The poetry selections in the Poetry and Drama half were heavily weighted with Wordsworth but included five or six of Hardy’s poems to represent in part, I suppose, “modern” poetry. I was fortunate to have Gordon (“Pop”) Snider as my English teacher for Grades X through XII at Gordon Bell (the original school at Wolseley and Maryland). Up to that point English classes had involved an interminable run of texts in the “Vitalized English” series that entailed studies of word usage, required 7 readings, and the repetitive study of parts of speech that le� me cold. Snider introduced us to figures of speech in a systematic way in Grade X and from there made literature come alive for me. At the same time, I was completing five years of Latin with W. -
Thomas Hardy
THOMAS HARDY GEORGE HERBERT CLARKE "l I T HEN Thomas Hardy died last January in his quiet Dorset V V home, he passed from a countryside that had loved him companionably; from a nation which had delighted to honour him (he had r.eceived the Order of Merit in 1910, and Oxford, Cambridge and Aberdeen had given him doctorates); from a circle of famous writers who had long since acknowledged his quiet deanship; and from a whole world of thoughtful readers to whom Sue and Ethel berta and Elfride and Bathsheba and Tess, Jude and Henchard and Clym Yeobright and Gabriel Oak, had become their living fellows . 'mid this dance Of plastic circumstance. At the funeral service in Westminster Abbey the wise and the simple, high men and humble, came to do reverence to the dignity and sincerity of the life of this great genius. Sir James Barrie w,as there, who wept as he placed Mrs. Hardy's sheaf of lilies on the grave. Rudyard Kipling was there, and John Galsworthy, Arnold Bennett, John Masefield, Bernard Shaw, Alfred Housman, John Drinkwater and Sir Edmund Gosse. The Prime Minister was there, and Ramsay Macdonald. The dead man's nearest ones -his widow and his sister, accompanied by his old Stinsford friend and physician, Dr. Mann-were the chief mourners. The beautiful ceremony ended with the singing of Hardy's favourite hymn Lead Kindly Light-the same hymn which, sung by "the little, attenuated voices of the children", had so moved Bathsheba in Far from the Madding Crowd. The interment was over, the Dead March from Saul was played, and Hardy's ashes rested beside the other tenants of Poet's Comer. -
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.