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Women in Thomas Hardy's Novels : an Interpretative Study
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. WOMEN IN THOMAS HARDY'S NOVEIS: AN INTERPRETATIVE STUDY . A thesis presented in partial fulfilment of the r equir ements for t he degree of Master of Arts in English at Massey University. D O R O T H Y M O R R I S O N • 1970. TABLE OF CONTENTS. Introduction. Chapter 1 • Plot and Character, p.8. Chapter 2. Women ?JlC. Nature, p.1 2 . Chanter '3 . Women and Class, p . 31 • Chapter 4. Women and Morality, P• 43. Chapter 5. Love and Marriage, p.52. Chapter 6. Marriage and Divorce, p.68. Conclusion, p.90. B_:_ bl i ography, n. 9/i. WOMEN IN THO:M..AS HARDY'S NOVELS: AN INTERPRETATIVE STUDY. INTRODUCTION. When one begins a study of the women in Hardy's novels one discovers critical views of great diversity. There are features of Hardy's work which received favourable comment then as now; his descriptions of nature for instance, and his rustic characters have appealed to most critics over the years. But his philosophical and social cormnent have drawn criticism ranging from the virulent to the scornful. In particular his attitude to and treatment of love and marriage relationships have been widely argued, and it is the women concerned who have been assessed in the most surprising and contradictory manner. -
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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. -
The Issue of Environmental Degradation and Thomas Hardy's
The Issue of Environmental Degradation And Thomas Hardy’s The Woodlanders Dr Gayatri Goswami Associate Professor & HOD Department of English, Sibsagar College, Joysagar India Thomas Hardy’s The Woodlanders, published in the book form in the year 1887 is a depiction of a transitional moment of history in which a new phase surpassing the old influences the lives of the people of that period. In fact The Woodlanders is a quaint story of woodland life focalizing the pain of struggle. It presents the story of betrayal, adultery and disillusion expressing Hardy’s acute awareness of the troubling dilemmas of a transitional moment. Here, he portrays pre-industrial England articulating the gradual but irrevocable and all-pervasive effect of industrialization resulting in change and transformation everywhere. Throughout the novel all-pervasive presence of nature can be perceived. So, this paper is intended to explore Thomas Hardy’s The Woodlanders from ‘ecocritical’ stance which affords an interesting insight into the inevitability of natural world in the human world depicting some moments of interdependence in the narrative of the novel. Because: Ecocriticism is literary and cultural criticism from an environmentalist viewpoint. Texts are evaluated in terms of their environmentally harmful or helpful effects. Beliefs and ideologies are for their environmental implications.(Waugh, 530) Thus addressing the issue of environment in the narrative of the fictional world of Hardy’s The Woodlanders, this paper is an endeavour to focus on the environmental issue of a transitional moment. Moreover, this investigation further sheds light how nature penetrates into human life manifesting mutual dependence. The basic assumption with which the novel is analysed is that nature in the novel is not just a device or setting, here the significance of nature lies in functioning as a parallel to human thought and action. -
A Little Town with a Big Story
Dorchester A little town with a big story orc l D he a s tu t r e i r Look for the button V Virtual Dorchester F i n n o d ti map loca Click to find the map location Find out The Dorchester Henge more... Visit the henge circle marked out on the car park floor here, and see hen Waitrose supermarket was built here in 1984, Drawing to show how the henge was built in Neolithic times (about 5,000 years ago). Wooden posts were tipped into pits, the Dorset County Museum archaeologists found signs of huge wooden posts and a which were then back-filled to hold the posts up. Read Discover Dorset: The Prehistoric curving ditch. W Age by Bill Putnam. Each post was about a metre across and had been cut from a mature Discover more on Wessex oak tree. They were regularly spaced about a metre apart. Twenty one Archaeology’s website. post holes were found in an arc shape and some had also been found earlier in Church Street. Archaeologists worked out that the posts and the ditch must have been part of a huge circular monument - about 380 metres across. It is one of the largest Neolithic monuments in Britain. Large circular monuments like this are known as henges, named after Stonehenge. The Dorchester henge was about three times the size of Stonehenge, although it was never a stone structure. It wasn’t the only one in the neighbourhood; there were also henges at Maumbury Rings and Mount Pleasant, just outside Dorchester. -
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. -
Thomas Hardy and His Funerals
THE EUROPEAN JOURNAL OF LIFE WRITING VOLUME IX (2020) LW&D132–LW&D150 Till Death Did Him Part: Thomas Hardy and His Funerals Charles Lock University of Copenhagen [J.M. Barrie] was especially tickled by Hardy’s preoccupation with plans for his own burial—plans, continuously changed. ‘One day Hardy took me . to see the place where he’s to be buried, and the next day he took me to see the place where he would like next best to be buried. Usually he says he is to be buried between his wives; but sometimes, so many inches nearer the first; sometimes, so many inches nearer to the second.’ Cynthia Asquith, Portrait of Barrie (London: James Barrie, 1954), p. 107 The wrongness of two funerals and the wretchedness of Florence’s later years bring a sombre end to any account of Hardy. Claire Tomalin, Thomas Hardy: The Time-Torn Man (London: Penguin, 2006), p. 377 ABSTRACT This essay considers Hardy’s two funerals—for his ashes at Poets’ Corner, for his heart at Stinsford—in the light of their consequences for life-writing: the absence of a single resting-place, and the narrative demands of synchronicity in telling of two funerals. This division of the body was the consequence of an extraordinary lack of precision in Hardy’s own will, the composition, wording and interpretation of which are examined here in some detail. Attention is also paid to the single grave at Stinsford that holds the remains of Hardy and both his wives in diverse modalities of the invisible. Keywords: Thomas Hardy, wills and testaments, ashes, funerals, heart-burials European Journal of Life Writing, Vol IX, 132–150 2020. -
Music Inspired by the Works of Thomas Hardy
This article was first published in The Hardy Review , Volume XVI-i, Spring 2014, pp. 29-45, and is reproduced by kind permission of The Thomas Hardy Association, editor Rosemarie Morgan. Should you wish to purchase a copy of the paper please go to: http://www.ingentaconnect.com/content/ttha/thr/2014/00000016/0 0000001/art00004 LITERATURE INTO MUSIC: MUSIC INSPIRED BY THE WORKS OF THOMAS HARDY Part Two: Music composed after Hardy’s lifetime CHARLES P. C. PETTIT Part One of this article was published in the Autumn 2013 issue. It covered music composed during Hardy’s lifetime. This second article covers music composed since Hardy’s death, coming right up to the present day. The focus is again on music by those composers who wrote operatic and orchestral works, and only mentions song settings of poems, and music in dramatisations for radio and other media, when they were written by featured composers. Hardy’s work is seen to have inspired a wide variety of music, from full-length operas and musicals, via short pieces featuring particular fictional episodes, to ballet music and purely orchestral responses. Hardy-inspired compositions show no sign of reducing in number over the decades. However despite the quantity of music produced and the quality of much of it, there is not the sense in this period that Hardy maintained the kind of universal appeal for composers that was evident during the last two decades of his life. Keywords : Thomas Hardy, Music, Opera, Far from the Madding Crowd , Tess of the d’Urbervilles , Alun Hoddinott, Benjamin Britten, Elizabeth Maconchy In my earlier article, published in the Autumn 2013 issue of the Hardy Review , I covered Hardy-inspired music composed during Hardy’s lifetime. -
A Return to Nature
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives A Return to Nature A Critique of the Pastoral in Thomas Hardy’s The Return of the Native By Hege Christine Sørensen Isaksen Master’s Thesis Department of Foreign Languages University of Bergen May 2015 Summary in Norwegian Denne avhandlingen er en økokritisk studie av hvordan Thomas Hardys verk The Return of the Native (1878) fungerer som en kritikk av den pastorale sjangeren. Analysen baserer seg på en tolkning der Return er skrevet innenfor den pastorale sjangerens rammeverk, og der Hardys kritikk er skjult i selve sjangeren den kritiserer. Min påstand er at denne kritikken retter seg mot romantiseringen av den kultiverende bonden, som utnytter naturen til sin egen fordel, heller enn mot den oftere kritiserte mangelfulle evnen til å erkjenne den hardtarbeidende bondens evinnelige slit. Tilnærmingen til analysen baserer seg på en retning innenfor økokritikken kalt dypøkologi (deep ecology), slik den ble introdusert av Arne Næss. Næss vektlegger spesielt at ”[t]he flourishing of human and non-human life on Earth has intrinsic value”, og ”that the value of non-human life forms is independent of the usefulness these may have for narrow human purposes” (Naess, 1989). Som et annet element i analysen tar jeg utgangspunkt i at Hardys landskap Egdon Heath er en egen karakter og aktør, som gis aktørrettigheter til å handle for både seg selv og på vegne av sine menneskelige motstykker. Forholdene og sammenhengen mellom landskapet og Hardys menneskelige karakterer er videre analysert i detalj, der karakterene Clym Yeobright, Diggory Venn og Eustacia Vye vies ekstra oppmerksomhet. -
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. -
16 May 2019. Dorchester Civic Society
16 May 2019. Dorchester Civic Society Dorchester and the boundary of the proposed Dorset and East Devon National Park: why Dorchester and its landscape setting should be included within the proposed National Park. 1. Introduction. 1.1. ‘’Dorchester Civic Society exists to stimulate people’s interest in the town and its setting; promote high standards of architecture, urban design and planning; safeguard buildings and areas of historic interest; and promote civic pride.’’ The Society, therefore, has a considerable interest in safeguarding the town and its landscape setting both now and for future generations. 1.2. The Dorset and Devon National Park Team submitted its bid to the Glover Review of Designated Landscapes in December 2018. The Team has presented a good in-principle case for designation without, at this stage, specifying a boundary [other than showing the original 1945 proposal comprising the current AONB and the area termed ‘Egdon Heath’ – which was not included in the designated AONB]. Dorchester is not within the present AONB boundary [although part of Poundbury is included]. The Society would argue that National Park boundaries should be drawn wider than AONBs as their purposes are different – National Parks are larger areas suited to tourism and public recreation, whereas AONBs are designated more specifically to protect their natural beauty. 1.3. Should the principle of designation be accepted, the Dorchester Civic Society would wish to see Dorchester and its surrounding landscape setting included within the proposed area. This note sets out the way in which Dorchester lies – historically, culturally and geographically – at the heart of the proposed National Park. -
The Return of the Native Thomas Hardy the Return of the Native Thomas Hardy
The Return of the Native Thomas Hardy The Return of the Native Thomas Hardy PREFACE The date at which the following events are assumed to have occurred may be set down as between 1840 and 1850, when the old watering place herein called “Budmouth” still retained sufficient afterglow from its Georgian gaiety and prestige to lend it an absorbing attractiveness to the romantic and imaginative soul of a lonely dweller inland. Under the general name of “Egdon Heath,” which has been given to the sombre scene of the story, are united or typified heaths of various real names, to the number of at least a dozen; these being virtually one in character and aspect, though their original unity, or partial unity, is now somewhat disguised by intrusive strips and slices brought under the plough with varying degrees of success, or planted to woodland. It is pleasant to dream that some spot in the extensive tract whose southwestern quarter is here described, may be the heath of that traditionary King of Wessex—Lear. July, 1895. “To sorrow I bade good morrow, And thought to leave her far away behind; But cheerly, cheerly, She loves me dearly; She is so constant to me, and so kind. I would deceive her, The Return of the Native Thomas Hardy And so leave her, But ah! she is so constant and so kind.” BOOK ONE — THE THREE WOMEN 1—A Face on Which Time Makes but Little Impression A Saturday afternoon in November was approaching the time of twilight, and the vast tract of unenclosed wild known as Egdon Heath embrowned itself moment by moment.