Notes Notes to the Introduction 1. Thomas Hardy, The Life and Work of Thomas Hardy, (ed.) Michael Millgate (London, Macmillan, 1984; Athens: University of Georgia Press, 1985) p. 56. Hereafter cited as Life and Work. 2. While this is the first full-length study of Hardy's interest and involvement in the theatre, it takes its place within the small but solid body of scholarship that has appeared since Marguerite Roberts first addressed two specific aspects of the subject in her books Tess in the Theatre (University of Toronto Press, 1950) and Hardy's Poetic Drama and the Theatre: The Dynasts' and 'The Famous Tragedy of the Queen of Cornwall' (New York: Pageant Press, 1965). Other significant contributions are David N. Baron, 'Harry Pouncy and the Hardy Players', Notes and Queries for Somerset and Dorset, 31 (September 1980) pp. 45-50 and his 'Hardy and the Dorchester Pouncys- Part Two', Notes and Queries for Somerset and Dorset, 31 (September 1981) pp. 129-35; Harold Orel, 'Hardy and the Theatre', in Margaret Drabble (ed.), The Genius of Thomas Hardy (London: Weidenfeld & Nicolson, 1976) pp. 94-108, and 'Hardy's Interest in the Theatre' in Harold Ore!, The Unknown Thomas Hardy (Brighton: Harvester, 1987) pp. 37--{;6; Desmond Hawkins's very helpful checklist of dramatiza­ tions, which forms an appendix (pp. 225-36) to his Hardy, Novelist and Poet (Newton Abbot: David & Charles, 1976); and Joan Grundy's 'Theatrical Arts', in her Hardy and the Sister Arts (London: Macmillan, 1979) pp. 70-105. Mention should also be made of Vincent Tollers's useful unpublished doctoral dissertation, 'Thomas Hardy and the Professional Theatre, with Emphasis on The Dynasts' (University of Colorado, 1968) and James Stottlar's 'Hardy vs. Pinero: Two Stage Versions of Far from the Madding Crowd', Theatre Survey, 18 (1977) pp. 23-43. See also Keith Wilson, 'Hardy and the Hangman: The Dramatic Appeal of "The Three Strangers"', English Literature in Transition, 24 (1981) pp. 155--{;0, and 'Thomas Hardy and the Hardy Players: The Evans and Tilley Adaptations', English Literature in Transition, 31 (1988) pp. 7-26. Less academic, though in their way no less instructive, are the brief memoirs in the Toucan Press Hardy monograph series by some of those associated with the Hardy Players: Gertrude Bugler, Personal Recollections of Thomas Hardy (Monograph 1, 1962); Norman Atkins, Hardy, Tess and Myself (Mono­ graph 2, 1962; enlarged and reissued as Thomas Hardy and the Hardy Players, 1980); and Evelyn L. Evans, My Father Produced Hardy's Plays (Monograph 17, 1964). 3. Thomas Hardy to Florence Henniker, 1 December 1893, The Collected Letters of Thomas Hardy, vol. 2: 1893-1901, ed. R. L. Purdy and Michael Millgate (Oxford: Clarendon Press, 1980) p. 43. Hereafter cited as Letters. 161 162 Notes to pages 2-10 4. 'Why I Don't Write Plays', Pall Mall Gazette, 31 August 1892; reprinted in Harold Ore! (ed.), Thomas Hardy's Personal Writings (London: Macmillan, 1967) p. 139. 5. J. Hillis Miller, Thomas Hardy: Distance and Desire (Cambridge, Mass.: Harvard University Press, 1970) p. x; John Bayley, An Essay on Hardy (Cambridge University Press, 1978) pp. 6, 23; Donald Davie, Thomas Hardy and British Poetry (New York: Oxford University Press, 1972) p.40. 6. Florence Emily Hardy to Rebekah Owen, 28 December 1922 (Colby). The letter is dated 28 January 1922 but this is almost certainly an error for December. The accompanying envelope is postmarked 29 December 1922. 7. For a full discussion of the checkered relationship of Rebekah Owen with the Hardys, see Carl J. Weber, Hardy and the Lady from Madison Square (Waterville: Colby College Press, 1952). 8. The Complete Poetical Works of Thomas Hardy, vol. I, ed. Samuel Hynes (Oxford: Clarendon Press, 1982) pp. 113,235. 9. Florence Emily Hardy, The Later Years of Thomas Hardy: 1892-1928 (London: Macmillan, 1930) p. 93. The comment is included as a post­ Hardyan revision in Life and Work, p. 517. 10. Life and Work, p. 446. 11. Thomas Hardy, The Dynasts (London: Macmillan, 1910) p. x. 12. The Dynasts, pp. x-xi. 13. For a full discussion of Granville Barker's productions, see Dennis Kennedy; Granville Barker and the Dream of the Theatre (Cambridge University Press, 1985). 14. See Life and Work, p. 397. 15. Thomas Hardy to A. E. Drinkwater, 28 January 1915 (Letters 5: 78). Notes to Chapter 1: Thomas Hardy and the Theatre 1. In response to a suggestion from James Barrie, Hardy adapted his short story 'The Three Strangers' into a one-act play entitled The Three Wayfarers. This was submitted to the producer Charles Charrington on 15 May 1893 and first performed at Terry's Theatre on 3 June. On 21 April 1893, the day on which he responded favourably to Barrie's suggestion, Hardy sketched out a two-act scenario for a play entitled Birthwort, whose central story was eventually used in the poem 'A Sunday Morning Tragedy'. See Thomas Hardy to J. M. Barrie [21 April 1893], and Thomas Hardy to Charles Charrington, 15 May 1893 (Letters 2:7, 9). 2. Four versions of Jude scenarios, dated 1895, 1897, 1910 and 1926, sur­ vive in draft in the Dorset County Museum. 3. Life and Work, p. 20. 4. Florence Emily Hardy, The Early Life of Thomas Hardy: 1840-1891 (London: Macmillan, 1928) p. 27. The episode is included in Life and Work (p. 501) as a post-Hardyan revision. Notes to pages 10-15 163 5. Life and Work, pp. 44-5, 54, 361. 'To an Impersonator of Rosalind' is dated 21 April 1867: Mrs Scott-Siddons played in As You Like It at the Haymarket on the previous night. 6. Life and Work, pp. 55--6. See also Desmond Hawkins, Hardy: Novelist and Poet (Newton Abbot: David & Charles, 1976) pp. 14-15. 7. Thomas Hardy to J. W. Mackail, 13 August 1916 (Letters 5: 173--4). 8. Life and Work, p. 157. 9. Life and Work, pp. 173--4. 10. Dorset County Chronicle, 7 February 1907. 11. Life and Work, pp. 125, 166, 236, 273, 349; Letters 1: 104-5 and 2: 22, 285. Hardy also had some dealings, if only as intermediary, with Irving over the possibility of Irving's producing and appearing in the Charles Jarvis and Jack Grein adaptation of The Woodlanders (see Charles Jarvis to Thomas Hardy, 6 May 1891, DCM). 12. Life and Work, pp. 219-20, 238-9, 273; Letters 1: 213, 215, and 2: 11, 18, 81-2. Hardy wrote 'Lines' for Ada Rehan to speak as an epilogue to a performance given at the Lyceum Theatre, 23 July 1890, on behalf of Lady Jeune's Holiday Fund for City Children (Complete Poetical Works 1: 104-5). 13. Life and Work, p. 289. 14. Thomas Hardy to Robert Donald, 10 May 1908 (Letters 3: 313). 15. For a full discussion of Phelps's work, see Shirley S. Allen, Samuel Phelps and Sadler's Wells Theatre (Middletown: Wesleyan University Press, 1971). 16. Charles and Ellen Kean opened on 17 May 1866 in Henry VIII, which ran until2 June. This was followed by Dion Boucicault's adaptation of Casimir Delavigne's Louis XI, which played from 4 to 19 June. The season ended with a one-night benefit appearance in The Merchant of Venice on 20 June. The Times review of Henry VIII indicates the distinc­ tive scenic emphasis. Noting that its previous run in 1855 had been around a hundred nights, the reviewer comments 'Long "runs" could alone compensate for the enormous outlay demanded by the gorgeous "revivals" at the Princess's Theatre' (The Times, 21 May 1866). 17. See Clement Scott, The Drama of Yesterday and Today (London: Macmillan, 1899) vol. 1, pp. 291-2. 18. Life and Work, p. 220. 19. George C. D. Odell, Shakespeare - From Betterton to Irving (1920; reprint, New York: Benjamin Blom, 1963) vol. 2, p. 439. 20. Thomas Hardy to Emma Lavinia Hardy [26 April1901] (Letters 2: 285). 21. For a discussion of the designs, see Sybil Rosenfeld, 'Alma Tadema's Designs for Henry Irving's Coriolanus', Shakespeare Jahrbuch, 71 (1974) pp. 84-95. 22. Life and Work, p. 243. 23. Unidentified clipping, Hardy Scrapbook of Theatrical Criticisms, Dorset County Museum. This is recorded as Hardy's direct speech, and he has made no corrective annotations, as was his habit with newspaper comments to which he took exception. 24. Personal Writings, p. 139. 164 Notes to pages 16-20 25. 'A British "Theatre Libre"', Weekly Comedy, 30 November 1889, p. 7. Hardy reverted to this idea in a later letter to Grein (24 July 1890): 'a theatre in which the play takes place in a sort of arena, half­ surrounded by the spectators; (as with the Greeks)- a mere curtain representing scenery thus, [diagram] would be attractive- People are getting rather tired of the cumbersome mise-en-scene' (Letters 1: 213). 26. Henry Arthur Jones, Preface, The Renascence of the English Drama (1895; reprint, Freeport: Books for Libraries Press, 1971) p. xii. 27. Jones, 'Our Modem Drama', in The Renascence of the English Drama, p. 270. 28. Jones, 'The Dramatic Outlook', in The Renascence of the English Drama, p.173. 29. Jones, 'The Future of the English Drama', in The Renascence of the English Drama, p. 129. 30. Doris Arthur Jones, The Life and Letters of Henry Arthur Jones (London: Gollancz, 1930) p. 205. 31. Letters 2: 43. 32. The Life and Letters of Henry Arthur Jones, p. 83. 33. Jones, 'Realism and Truth', in The Renascence of the English Drama, p. 87. 34. Mario Borsa, The English Stage of Today (London: Bodley Head, 1908) p.