By Trevor Johnson
An research of more than a few Hardy's poems, together with love poems, poems approximately rules, humans and locations and approximately seasons and animals. The poems are grouped by means of topic and the textual content used for the poems is from Dr James Gibson's "Thomas Hardy: the full Poems". every one set of poems is through an research of the poems. the writer has written a number of different books approximately Hardy and his poems, together with "Thomas Hardy" (1968) and "Thomas Hardy: An Annotated interpreting record" (1974).
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Extra info for A Critical Introduction to the Poems of Thomas Hardy
The truth is that much of Hardy's characteristic strength, and something of his characteristic weakness too, derives from his steady refusal to write one kind of poetry - the kind well exemplified by the first verse of Weathers - to the exclusion of another. For just as Shakespeare goes on to tell of Winter (notice the Ands), When icicles hang by the wall, And Dick the shepherd blows his nail: And Tom bears logs into the hall, And milk comes frozen home in pail When blood is nipt and ways be foul, so Hardy, in verse 2 of Weathers, goes on, This is the weather the shepherd shuns, And so do I; When beeches drip in browns and duns, And thresh and ply; And hill-hid tides throb, throe on throe, And meadow rivulets overflow, And drops on gate-bars hang in a row, And rooks in families homeward go, And so do I.
Bearing all this in mind it is not at all surprising to find that Hardy's own definition was, 'The secret of poetry lies in seeing into the heart of a thing, which ... is realism in fact', a position he always defended vigorously, contending that there was such a thing as 'too much style' and arguing, in 1901, that, There is a latent music in the sincere utterance of deep emotion, however expressed, which fills the place of the actual word-music in rhythmic phraseology on thinner emot- 48 A Critical Introduction to the Poems of Thomas Hardy ive subjects...
Since, in 1918, Lytton Strachey published his Eminent Victorians, it has tended to become a matter of routine expectation that the famous should be equipped with as large a size in clay feet as seems feasible. Hardy was certainly no saint; creative geniuses rarely are. Nevertheless the breakdown of his and Emma's marriage is more a matter for pity than for judgemental hindsight. ' (Maxim 31). Hardy's Life 29 But we cannot leave it there, because the marriage was to be the catalyst of much of Hardy's finest poetry, in terms both of subject matter and of emotional temper, so that some attempt, not to adjudicate morally, but to account for its failure, must be made here.