Titlebook: New Perspectives on Thomas Hardy; Charles P. C. Pettit (librarian, Client Services M Book 1994 Palgrave Macmillan, a division of Macmillan

FLIC

,Hardy’s Vision of the Individual in ,,and laments the ‘decline and fall of the Hardys’.. Here some of Hardy’s preoccupations as he began composition of . are unmistakably signalled. Whatever his strictures on biographical intrusions, Hardy clearly felt that the search for the genesis of a novel or poem was a legitimate literary enquiry, and was happy to give a helping hand.

Headstrong

抚慰

,The Characteristic of all Great Poetry — The General Perfectly Reduced in the Particular’: Thomas Huch numbers that it is surprising how much work he still managed to do. One such visitor was a young army officer who was stationed near Dorchester at the end of the Great War and was welcomed by Hardy to Max Gate on several occasions in 1918 and 1919. Lt. Elliott Felkin came bearing an introduction

Comprise

,‘Something More to be Said’: Hardy’s Creative Process and the Case of , and ,,poems and certain of his novels, makes possible a closer look than before into Hardy’s day-to-day life as a working writer, particularly his sense of his readers and the effect of their responses on his writing.. For the student of Hardy’s creative process, these documents reveal three important shi

FOVEA

laceration

,Thoroughfares of Stones’: Hardy’s ‘Other’ Love Poetry, of life’s little posthumous ironies, the last of his many books has, I fear, done his hero a grave disservice. His ., published in 1963 and often reprinted, though it does, as he says, contain ‘some of the finest … love poems in English’ has a most misleading title. For its contents are rigidly res

易于出错

,‘Moments of Vision”: Postmodernising , or, , Faithfully Presented,There are those famous set-piece ‘descriptions’ of rural Wessex (not quite Dorset, let us remember); the inescapably scenic moments, such as the May-dance at Marlott as the novel opens or sunrise at Stonehenge towards the end, which render talk about Hardy’s proto-cinematic techniques more than mere

Credence

mechanism

,‘Good Faith, You do Talk!’: Some Features of Hardy’s Dialogue,hared by generations of readers who have been impressed, sometimes overwhelmed, by the rich variety of what Hardy’s characters say to one another. Hardy is more powerful in this respect than many novelists: his fiction continually presents people who are talking vigorously about themselves and their

火花

,‘A Bewildered Child and his Conjurors’: Hardy and the Ideas of his Time,ldered child at a conjuring show’.. Few critics have believed Hardy — it has of course been academically convenient not to. But then Hardy himself could on other occasions be specific and informative about the influences on him. ‘My pages’, he confessed to Ernest Brennecke in June 1924, ‘show harmon