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POEMS of THOMAS HARDY a New Selection POEMS OF THOMAS HARDY A New Selection Selected, with an Introduction and Notes, by T. R. M. CREIGHTON ‘So various in their pith and plan' Macmillan POEMS OF THOMAS HARDY A New Selection ALSO PUBLISHED BY MACMILLAN The Collected Poems of Thomas Hardy Fourth edition 1930; latest reprint 1972 (This edition is the first to contain all of Hardy’s poems.) Selected Poems of Thomas Hardy, edited with an Introduction by G. M. Young. First edition 1940; first printed in The Golden Treasury series 1950; datest reprint 1971 Selected Poems of Thomas Hardj, edited with an Introduction and Notes by P. N. Furbank, in Macmillan’s English Classics - New Series. Second edition 1967; latest reprint 1971 Selected Shorter Poems o f "Thomas Hardy, chosen and introduced by John Wain. First edition 1966; second edition, revised, in the New Wessex series 1974 Selection, Introduction and editorial matter © T. R. M. Creighton 1974 This book is copyright in all countries which are signatories to the Berne Convention All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission. Firsf published bj THE MACMILLAN PRESS LTD l^ondon and Basingstoke Associated companies in New. York Dublin Melbourne Johannesburg and Madras « SBN 333 11839 ^ (hard cover) 333 13682 9 (paper cover) Printed in Great Britain bj THE ANCHOR PRESS LTD Tip tree, Essex The paperback edition of this boolv is sold subject to the condition that it shall not, by way o f trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form o f binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. CONTENTS Introduction vii Publisher’s Note xvi POEMS Part I Nature and Man i Part II Love 23 Section i 24 Section 2 36 Section} 74 Section 4 82 Part III The Past and the Present 87 Section i Childhood and Familj 8 8 Section 2 Travel loi Section ^ Memory and Reflection 107 Section 4 Belief and Unbelief 141 Section j War 180 Part IV Poems Dramatic and Personative 191 Part V Ballads and Narrative Poems 2 5 9 Appendix 1 Hardy’s Prefaces 307 Appendix II Some Thoughts of Hardy’s on Poetry and the Arts 3 1 5 Biographical Summary 529 Notes 331 Bibliography 3 5 3 Index to Poem-titles 3 5 5 Index to First Lines 362 Let me enjoy the earth no less Because the all-enacting Might That fashioned forth its loveliness Had other aims than my delight. CoUectcd Poems, p. 222 INTRODUCTION H a r d y appears as his own best interpreter in Appendixes I and II of this volume. To make room for these in a book whose length is inevitably governed by economic considerations, I have dispensed with a full critical introduction. I offer some commentary in the Introductory Notes on pages 332-7, 338-9, and 342-4, and in the notes themselves, though, to make a clean page, there are no references. I have space below only for explanation of the principles of selection and arrangement, and some primitive guidelines into the poetry. I thank Basil Creighton, Dr Mara Kalnins and Richard Taylor for invaluable advice and my wife for unfailing encouragement. By nature and choice Hardy was a poet. He read, studied and wrote poetry intensively before he ‘dreamt of novels’, beginning in his early twenties in the 1860s and stopping only at his death at 88 in 1928. Prose fiction was a profession, a ‘temporary’ but economically ‘compulsory’ interruption of his poetic career (L 299).* Though he devoted a quarter of a century to it and wrote some of the best novels ever written, he never had a very high opinion of the novel as an art form, considering that ‘in verse was contained the essence of all imaginative and emotional literature’ {L 48). When, after Jude, he abandoned prose for ever, he had published only three or four poems ephemerally but had perhaps 200 unpublished in his desk. His first volume, ]Vessex Poems (1898), produced when he was 58, was a selection from the hoarded work of over thirty years. With characteristic briskness, vitality and versatility (his second wife, in a letter, wrote of him sitting late in life in his study writing a most dismal poem with great spirit), he spent the next thirty writing one of the longest poems in any language. Tie Dynasts (finished 1908)- there are no extracts in this volume; it must be taken whole or not at all - and 700 or 800 more lyrics and a number of dramatic monologues and narratives. Seven more volumes came out at irregular intervals between 1902 and 1928, and all were printed in series in the CP (i93o),| which contains 920 poems composed over more than sixty years. Each was arranged without consistent regard to chronology of composition or homogeneity of subject, kind, tone or length of individual poems, but as a painter might hang a representative exhibition selected from a • L = F. E. Hardy, Tie Life of Thomas Hardy (London, Macmillan, 1930 and 1962). t The Collected Poems oj Thomas Hardy, 4th edn (London, Macmillan, 1930). For other abbreviations and references, see note, p. 331. Vlll INTRODUCTION lifetime’s labour to give a total impression of his art up to that moment. Each contains poems from the i86os interspersed with many more from all periods up to its preparation. About one in ten bears a date, either of composition (at the end) or of the event, experience or impression it arose from (at the beginning); but these are never arranged in consistent order of either kind or date. The undated 90 per cent occur apparently haphazardly among them. In four volumes Hardy introduced tentative classifications - ‘War Poems’, ‘Poems O f Pilgrimage’ or ‘More Love Lyrics’, for instance - but none is fully classified. Each contains dozens of disconnected, heterogeneous pieces; and poems intimately related by subject, period or both come in different volumes hundreds of pages apart in the CP. Though Hardy chose out each volume with care as an exhibition, the system behind their sequence is hard to discern. The CP makes an impression of enormous, uncharted bulk arranged arbitrarily or at random. The difficulty simply of using it and finding one’s way about has done much to deter readers, to confuse the critical reputation of his art and to obscure its greatness. I. PRINCIPLES OF SELECTION The object of this selection is to allow Hardy’s art to reveal itself by reducing its bulk and defining its main kinds and preoccupations, irrespec­ tive of his volume divisions: not to present ‘the best of Hardy’ but a cross-section of all he wrote in reduced compass and systematic arrange­ ment. It is not a substitute for the CP, and if it leads readers on to an easy familiarity with all his work it will have fulfilled its intention. It is still a popular fallacy-for which F. R. Leavis (Neiv Bearings, 1932) bears a grievous responsibility - that Hardy is that inconceivable chimera, a poet who by luck or chance wrote twelve (unspecified) masterpieces and hundreds of very undistinguished verses. In fact, the slightest or oddest poem he wrote has the power over language, intensity of appre­ hension, acuteness of observation and distinction of imagination of the greatest, and could only have been written by a great and true poet. Hardy may have published more than has been good for his standing with critics who^have not understood the nature and unity of his art, but there are no ‘failures’ in the poems any more than in the novels, though many shots at things previously unattempted. Gosse’s remark that ‘the worst chapter in Hthelberta is recognisable in a moment as written by the author of the best chapter in The Return’ {The Speaker, 1 3 September 1890) is exactly applicable. My reason for exclusions - and of course I shall have omitted somp of everyone’s favourites - was to achieve a length manageable by the new reader and economically feasible for the publisher. The ideal would be the whole CP arranged as I shall now describe. I. Arrangement. In a passage in the ‘Apology’ to luite Lyrics (3 11) INTRODUCTION IX Hardy mentions the misunderstandings that may arise ‘from miscellanies . of various character like the present and its predecessors. I must admit that I did not foresee such contingencies as I ought to have done.... I must trust for right note-catching to those finely-touched spirits . whose intuitiveness is proof against all the accidents of inconsequence.’ Confronting the series of eight such miscellanies, the most finely-touched reader must read, re-read, mentally cross-refer and meditate on the whole work for years to see its themes ‘in graduated kinship’. To rearrange is only to make this easier and does not, I think, do violence to the poetry. I have been guided by Hardy’s tentative classifications or by the manifest nature of his work. The mysterious relation between nature and man, the numinous but indifferent, the lovely, inscrutable, untrustworthy, evolutionarily ruthless but in some contradictory sense almost mystically significant, face of nature, have a place on nearly every page he wrote. Love is predominant in all his work (see 332-7). Memory, nostalgia, the presentness of the past to those who live awarely in the present, the pastness of the past, the tragedy of its pastness, its irreplace­ ableness and sanctity, are among his leading themes (see 3 3 8-9).
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