This book reads Hardy's poetry of the rural as deeply rooted in the historical tradition of the pastoral mode even as it complicates and extends it. It shows that in addition to reinstating the original tensions of classical pastoral, Hardy dramatizes a heightened awareness of complex communities and the relations of class, labour, and gender.
This book reads Hardy's poetry of the rural as deeply rooted in the historical tradition of the pastoral mode even as it complicates and extends it. It shows that in addition to reinstating the original tensions of classical pastoral, Hardy dramatizes a heightened awareness of complex communities and the relations of class, labour, and gender.
Victorian pastoral explores the pastoral poetry of Alfred Tennyson and Thomas Hardy as a way of understanding each poet's relation to the literary past. This exploration of Tennyson's and Hardy's response to and reshaping of a specific genre aims to shed light on each poet's relation to modernist poetics. Owen Schur also presents an overview of the pastoral tradition, suggesting the importance of rhetoric and the play of language to a full understanding of the genre.
Born and brought up in a village-tradesman family, he broke away, re-inventing himself first as a professional architect, and then as a successful man of letters. The imagined societies of his rural novels are significantly selective: he ignores, marginalizes, or treats dismissively the mass of rural poor, the agricultural labourers, whose condition was a running concern of the nineteenth century. His novels focus on the independent group to which his family belonged: 'an interesting and better-informed class, ranking distinctly above' the agricultural labourers, as he pointedly tells us. His fictions are coloured with a rich rural conservatism where social attitudes are concerned. Hardy's Wessex countryside is to be valued as metaphor, not reportage: for the latter we have to turn to that huge bulk of contemporary material highlighting the situation of the agricultural poor, nowhere more severely felt than in Dorset. It is no wonder that his early readers were puzzled.
Thomas Hardy and the Church traces the development of Hardy's attitude towards Christianity. Through an analysis, firmly rooted in documentary evidence, of his use of the motifs of church architecture, religious ritual, and the characters of clergymen, Jan Jedrzejewski argues that the tension between Hardy's emotional attachment to the Christian tradition and his inability to accept its ontological essence generated a response to Christianity that was complex, often ambiguous, and by no means uniformly critical.
A study of the fictious world in Hardy’s novels in relation to real places and Hardy’s real-life experiences. Thomas Hardy’s Wessex is one of the great literary evocations of place, populated with colourful and dramatic characters. As lovers of his novels and poetry know, this ‘partly real, partly dream-country’ was firmly rooted in the Dorset into which he had been born. J. B. Bullen explores the relationship between reality and the dream, identifying the places and the settings for Hardy’s writing, and showing how and why he shaped them to serve the needs of his characters and plots. The locations may be natural or man-made, but they are rarely fantastic or imaginary. A few have been destroyed and some moved from their original site, but all of them actually existed, and we can still trace most of them on the ground today. Thomas Hardy: The World of his Novels is essential reading for students of literature and for all Hardy enthusiasts who want to gain new insights into his work. Praise for Thomas Hardy “Take pleasure in a book like this one, which skillfully interweaves its evocative accounts of Hardy’s life, of Dorset and Cornwall places, and of the stories unfolded from places in six of his novels (and a few poems) so that we vividly re-experience them. . . . The pleasures of this book (and they are real) come from its ability to re-enchant us in a way that is not un-Hardy-like, to draw us again into the intensely seen, heard, and felt world of the novels and poems. It set me to re-reading Hardy, with different eyes.” —Review 19