Thomas Hardy

Thomas Hardy, OM (2 June 1840 – 11 January 1928) was an English novelist and poet. A Victorian realist in the tradition of George Eliot, he was influenced both in his novels and in his poetry by Romanticism, especially William Wordsworth. Charles Dickens was another important influence. Like Dickens, he was highly critical of much in Victorian society, though Hardy focused more on a declining rural society.

While Hardy wrote poetry throughout his life and regarded himself primarily as a poet, his first collection was not published until 1898. Initially, therefore, he gained fame as the author of novels, including Far from the Madding Crowd (1874), The Mayor of Casterbridge (1886), Tess of the d'Urbervilles (1891), and Jude the Obscure (1895). Hardy's poetry, though prolific, was not as well received during his lifetime. It was rediscovered in the 1950s, when Hardy's poetry had a significant influence on the Movement poets of the 1950s and 1960s, including Philip Larkin.

Most of his fictional works – initially published as serials in magazines – were set in the semi-fictional region of Wessex. They explored tragic characters struggling against their passions and social circumstances. Hardy's Wessex is based on the medieval Anglo-Saxon kingdom and eventually came to include the counties of Dorset, Wiltshire, Somerset, Devon, Hampshire and much of Berkshire, in southwest and south central England.

Life

Thomas Hardy was born on 2 June 1840 in Higher Bockhampton, Dorset, England (Upper Bockhampton in his day), a hamlet in the parish of Stinsford to the east of Dorchester in Dorset, England, where his father Thomas (1811–92) worked as a stonemason and local builder, and married his mother Jemima (née Hand; 1813–1904) in Beaminster, towards the end of 1839. Jemima was well-read, and she educated Thomas until he went to his first school at Bockhampton at the age of eight. For several years he attended Mr. Last's Academy for Young Gentlemen in Dorchester. Here he learned Latin and demonstrated academic potential. Because Hardy's family lacked the means for a university education, his formal education ended at the age of sixteen, when he became apprenticed to James Hicks, a local architect. Hardy trained as an architect in Dorchester before moving to London in 1862; there he enrolled as a student at King's College London. He won prizes from the Royal Institute of British Architects and the Architectural Association. Hardy was in charge of the excavation of the graveyard of St Pancras Old Church prior to its destruction when the Midland Railway was extended to a new terminus at St Pancras.

But Hardy never felt at home in London, because he was acutely conscious of class divisions and his social inferiority. However, during this time he became interested in social reform and the works of John Stuart Mill. He was also introduced by his Dorset friend Horace Moule to the works of Charles Fourier and Auguste Comte. Five years later, concerned about his health, he returned to Dorset, settling at Weymouth, and decided to dedicate himself to writing.

In 1870, while on an architectural mission to restore the parish church of St Juliot in Cornwall, Hardy met and fell in love with Emma Lavinia Gifford, whom he married in Kensington in the autumn of 1874. In 1885 Thomas and his wife moved into Max Gate, a house Hardy had designed himself and his brother had built. Although they later became estranged, her subsequent death in 1912 had a traumatic effect on him and after her death, Hardy made a trip to Cornwall to revisit places linked with their courtship; his Poems 1912–13 reflect upon her death. In 1914, Hardy married his secretary Florence Emily Dugdale, who was 39 years his junior. However, he remained preoccupied with his first wife's death and tried to overcome his remorse by writing poetry. In 1910, Hardy had been awarded the Order of Merit and was also for the first time nominated for the Nobel Prize in Literature. He would be nominated for the prize in eleven more years.

Hardy became ill with pleurisy in December 1927 and died at Max Gate just after 9 pm on 11 January 1928, having dictated his final poem to his wife on his deathbed; the cause of death was cited, on his death certificate, as "cardiac syncope", with "old age" given as a contributory factor. His funeral was on 16 January at Westminster Abbey, and it proved a controversial occasion because Hardy had wished for his body to be interred at Stinsford in the same grave as his first wife, Emma. His family and friends concurred; however, his executor, Sir Sydney Carlyle Cockerell, insisted that he be placed in the abbey's famous Poets' Corner. A compromise was reached whereby his heart was buried at Stinsford with Emma, and his ashes in Poets' Corner.

Shortly after Hardy's death, the executors of his estate burnt his letters and notebooks, but twelve documents survived, one of them containing notes and extracts of newspaper stories from the 1820s, and research into these has provided insight into how Hardy used them in his works. In the year of his death Mrs Hardy published The Early Life of Thomas Hardy, 1841–1891, compiled largely from contemporary notes, letters, diaries, and biographical memoranda, as well as from oral information in conversations extending over many years.

Hardy's work was admired by many younger writers, including D. H. Lawrence, John Cowper Powys, and Virginia Woolf. In his autobiography Goodbye to All That (1929), Robert Graves recalls meeting Hardy in Dorset in the early 1920s and how Hardy received him and his new wife warmly, and was encouraging about his work.

Hardy's birthplace in Bockhampton and his house Max Gate, both in Dorchester, are owned by the National Trust.

Novels

Hardy's first novel, The Poor Man and the Lady, finished by 1867, failed to find a publisher. He then showed it to his mentor and friend, the Victorian poet and novelist, George Meredith, who felt that The Poor Man and the Lady would be too politically controversial and might damage Hardy's ability to publish in the future. So Hardy followed his advice and he did not try further to publish it. Later, he destroyed the manuscript.

After he abandoned his first novel, Hardy wrote two new ones that he hoped would have more commercial appeal, Desperate Remedies (1871) and Under the Greenwood Tree (1872), both of which were published anonymously. In 1873 A Pair of Blue Eyes, a novel drawing on Hardy's courtship of his first wife, was published under his own name. The term "cliffhanger" is considered to have originated with the serialised version of this story (which was published in Tinsley's Magazine between September 1872 and July 1873) in which Henry Knight, one of the protagonists, is left literally hanging off a cliff.

In his next novel Far from the Madding Crowd (1874), Hardy first introduced the idea of calling the region in the west of England, where his novels are set, Wessex. Wessex had been the name of an early Saxon kingdom, in approximately the same part of England. Far from the Madding Crowd was successful enough for Hardy to give up architectural work and pursue a literary career. Over the next twenty-five years Hardy produced ten more novels.

Subsequently the Hardys moved from London to Yeovil, and then to Sturminster Newton, where he wrote The Return of the Native (1878). Hardy published Two on a Tower in 1882, a romance story set in the world of astronomy. Then in 1885, they moved for the last time, to Max Gate, a house outside Dorchester designed by Hardy and built by his brother. There he wrote The Mayor of Casterbridge (1886), The Woodlanders (1887), and Tess of the d'Urbervilles (1891), the last of which attracted criticism for its sympathetic portrayal of a "fallen woman" and was initially refused publication. Its subtitle, A Pure Woman: Faithfully Presented, was intended to raise the eyebrows of the Victorian middle classes.

A major location of The Return of the Native as part of Hardy's fictional Egdon Heath.
Jude the Obscure, published in 1895, met with an even stronger negative response from the Victorian public because of its controversial treatment of sex, religion and marriage. Furthermore, its apparent attack on the institution of marriage caused further strain on Hardy's already difficult marriage because Emma Hardy was concerned that Jude the Obscure would be read as autobiographical. Some booksellers sold the novel in brown paper bags, and the Bishop of Wakefield, Walsham How, is reputed to have burnt his copy. In his postscript of 1912, Hardy humorously referred to this incident as part of the career of the book: "After these [hostile] verdicts from the press its next misfortune was to be burnt by a bishop – probably in his despair at not being able to burn me". Despite this, Hardy had become a celebrity by the 1900s, but some argue that he gave up writing novels because of the criticism of both Tess of the D'Urbervilles and Jude the Obscure. The Well-Beloved, first serialised in 1892, was published in 1897.

Literary themes

Considered a Victorian realist, Hardy examines the social constraints on the lives of those living in Victorian England, and criticises those beliefs, especially those relating to marriage, education and religion, that limited people's lives and caused unhappiness. Such unhappiness, and the suffering it brings, is seen by poet Philip Larkin as central in Hardy's works:

"What is the intensely maturing experience of which Hardy's modern man is most sensible? In my view it is suffering, or sadness, and extended consideration of the centrality of suffering in Hardy's work should be the first duty of the true critic for which the work is still waiting [. . .] Any approach to his work, as to any writer's work, must seek first of all to determine what element is peculiarly his, which imaginative note he strikes most plangently, and to deny that in this case it is the sometimes gentle, sometimes ironic, sometimes bitter but always passive apprehension of suffering is, I think, wrong-headed."
In Two on a Tower, for example, Hardy takes a stand against these rules of society with a story of love that crosses the boundaries of class. The reader is forced to reconsider the conventions set up by society for the relationships between women and men. Nineteenth-century society had conventions, which were enforced. In this novel Swithin St Cleeve's idealism pits him against such contemporary social constraints.

"In a novel structured around contrasts, the main opposition is between Swithin St Cleeve and Lady Viviette Constantine, who are presented as binary figures in a series of ways: aristocratic and lower class, youthful and mature, single and married, fair and dark, religious and agnostic...she [Lady Viviette Constantine] is also deeply conventional, absurdly wishing to conceal their marriage until Swithin has achieved social status through his scientific work, which gives rise to uncontrolled ironies and tragic-comic misunderstandings."
Fate or chance is another important theme. Hardy's characters often encounter crossroads on a journey, a junction that offers alternative physical destinations but which is also symbolic of a point of opportunity and transition, further suggesting that fate is at work. Far From the Madding Crowd is an example of a novel in which chance has a major role: "Had Bathsheba not sent the valentine, had Fanny not missed her wedding, for example, the story would have taken an entirely different path." Indeed, Hardy's main characters often seem to be held in fate's overwhelming grip.

Poetry

In 1898 Hardy published his first volume of poetry, Wessex Poems, a collection of poems written over 30 years. While some suggest that Hardy gave up writing novels following the harsh criticism of Jude the Obscure in 1896, the poet C. H. Sisson calls this "hypothesis" "superficial and absurd". In the twentieth century Hardy published only poetry.

Thomas Hardy wrote in a great variety of poetic forms including lyrics, ballads, satire, dramatic monologues, and dialogue, as well as a three-volume epic closet drama The Dynasts (1904–08), and though in some ways a very traditional poet, because he was influenced by folksong and ballads, he "was never conventional," and "persistently experiment[ed] with different, often invented, stanza forms and metres, and made use of "rough-hewn rhythms and colloquial diction".

Hardy wrote a number of significant war poems that relate to both the Boer Wars and World War I, including "Drummer Hodge", "In Time of 'The Breaking of Nations'", and "The Man He Killed"; his work had a profound influence on other war poets such as Rupert Brooke and Siegfried Sassoon. Hardy in these poems often used the viewpoint of ordinary soldiers and their colloquial speech. A theme in the Wessex Poems is the long shadow that the Napoleonic Wars cast over the nineteenth century, as seen, for example, in "The Sergeant's Song" and "Leipzig". The Napoleonic War is the subject of The Dynasts.

Some of Hardy's most famous poems are from "Poems of 1912–13", part of Satires of Circumstance (1914), written following the death of his wife Emma in 1912. They had been estranged for twenty years and these lyric poems express deeply felt "regret and remorse". Poems like “After a Journey,” “The Voice,” and others from this collection "are by general consent regarded as the peak of his poetic achievement". In a recent biography on Hardy, Claire Tomalin argues that Hardy became a truly great English poet after the death of his first wife, Emma, beginning with these elegies, which she describes as among "the finest and strangest celebrations of the dead in English poetry."

Many of Hardy's poems deal with themes of disappointment in love and life, and "the perversity of fate", but the best of them present these themes with "a carefully controlled elegiac feeling". Irony is also an important element in a number of Hardy's poems, including "The Man he Killed" and "Are You Digging on My Grave". A few of Hardy's poems, such as "The Blinded Bird", a melancholy polemic against the sport of vinkenzetting, reflect his firm stance against animal cruelty, exhibited also in his antivivisectionist views and his membership in The Royal Society for the Prevention of Cruelty to Animals.

A number of notable English composers, including Gerald Finzi, Benjamin Britten, and Gustav Holst, set poems by Hardy to music. Holst also wrote the orchestral tone poem Egdon Heath: A Homage to Thomas Hardy in 1927.

Although his poems were initially not as well received as his novels had been, Hardy is now recognised as one of the greatest twentieth-century poets, and his verse has had a profound influence on later writers, including Robert Frost, W. H. Auden, Dylan Thomas, and, most notably Philip Larkin. Larkin included twenty-seven poems by Hardy compared with only nine by T. S. Eliot in his edition of the Oxford Book of Twentieth Century English Verse in 1973. There were also fewer poems by W. B. Yeats.

Religious beliefs

Hardy's family was Anglican, but not especially devout. He was baptised at the age of five weeks and attended church, where his father and uncle contributed to music. However, he did not attend the local Church of England school, instead being sent to Mr Last's school, three miles away. As a young adult, he befriended Henry R. Bastow (a Plymouth Brethren man), who also worked as a pupil architect, and who was preparing for adult baptism in the Baptist Church. Hardy flirted with conversion, but decided against it. Bastow went to Australia and maintained a long correspondence with Hardy, but eventually Hardy tired of these exchanges and the correspondence ceased. This concluded Hardy's links with the Baptists.

The irony and struggles of life, coupled with his naturally curious mind, led him to question the traditional Christian view of God:

The Christian God – the external personality – has been replaced by the intelligence of the First Cause...the replacement of the old concept of God as all-powerful by a new concept of universal consciousness. The 'tribal god, man-shaped, fiery-faced and tyrannous' is replaced by the 'unconscious will of the Universe' which progressively grows aware of itself and 'ultimately, it is to be hoped, sympathetic'.
Hardy's religious life seems to have mixed agnosticism, deism, and spiritism. Once, when asked in correspondence by a clergyman about the question of reconciling the horrors of pain with the goodness of a loving God, Hardy replied,

Mr. Hardy regrets that he is unable to offer any hypothesis which would reconcile the existence of such evils as Dr. Grosart describes with the idea of omnipotent goodness. Perhaps Dr. Grosart might be helped to a provisional view of the universe by the recently published Life of Darwin and the works of Herbert Spencer and other agnostics.
Hardy frequently conceived of, and wrote about, supernatural forces, particularly those that control the universe through indifference or caprice rather than any firm will. He also showed in his writing some degree of fascination with ghosts and spirits. Even so, he retained a strong emotional attachment to the Christian liturgy and church rituals, particularly as manifested in rural communities, that had been such a formative influence in his early years, and Biblical references can be found woven throughout many of Hardy's novels.

Hardy's friends during his apprenticeship to John Hicks included Horace Moule (one of the eight sons of Henry Moule), and the poet William Barnes, both ministers of religion. Moule remained a close friend of Hardy's for the rest of his life, and introduced him to new scientific findings that cast doubt on literal interpretations of the Bible, such as those of Gideon Mantell. Moule gave Hardy a copy of Mantell's book The Wonders of Geology (1848) in 1858, and Adelene Buckland has suggested that there are "compelling similarities" between the "cliffhanger" section from A Pair of Blue Eyes and Mantell's geological descriptions. It has also been suggested that the character of Henry Knight in A Pair of Blue Eyes was based on Horace Moule.

Influence

Hardy corresponded with and visited Lady Catherine Milnes Gaskell at Wenlock Abbey and many of Lady Catherine's books are inspired by Hardy, who was very fond of her.

D. H. Lawrence's Study of Thomas Hardy (1936), indicates the importance of Hardy for him, even though this work is a platform for Lawrence's own developing philosophy rather than a more standard literary study. The influence of Hardy's treatment of character, and Lawrence's own response to the central metaphysic behind many of Hardy's novels, helped significantly in the development of The Rainbow (1915) and Women in Love (1920).

Wood and Stone (1915), the first novel by John Cowper Powys, who was a contemporary of Lawrence, was "Dedicated with devoted admiration to the greatest poet and novelist of our age Thomas Hardy". Powys's later novel Maiden Castle (1936) is set in Dorchester, Hardy's Casterbridge, and was intended by Powys to be a "rival" to Hardy's The Mayor of Casterbridge. Maiden Castle is the last of Powys's so-called Wessex novels, Wolf Solent (1929), A Glastonbury Romance (1932), and Weymouth Sands (1934), which are set in Somerset and Dorset.

Hardy was clearly the starting point for the character of the novelist Edward Driffield in W. Somerset Maugham's novel Cakes and Ale (1930). Thomas Hardy's works also feature prominently in the American playwright Christopher Durang's The Marriage of Bette and Boo (1985), in which a graduate thesis analysing Tess of the d'Urbervilles is interspersed with analysis of Matt's family's neuroses.

Hardy has been a significant influence on Nigel Blackwell, frontman of the post-punk British rock band Half Man Half Biscuit, who has often incorporated phrases (some obscure) by or about Hardy, into his song lyrics.

This article uses material from the Wikipedia article Thomas Hardy, which is released under the Creative Commons Attribution-Share-Alike License 3.0. ( view authors).