Complete Works of Thomas Hardy (Illustrated), page 874
But the poet has not reached the end of his disillusion. He thinks to secure repose on the breast of Nature, the alma mater, to whom Goethe and Wordsworth and Browning each in his own way turned, and were rewarded by consolation and refreshment. We should be prepared to find Mr. Hardy, with his remarkable aptitude for the perception of natural forms, easily consoled by the influences of landscape and the inanimate world. His range of vision is wide and extremely exact; he has the gift of reproducing before us scenes of various character with a vividness which is sometimes startling. But Mr. Hardy’s disdain of sentimentality, and his vigorous analysis of the facts of life, render him insensible not indeed to the mystery nor to the beauty, but to the imagined sympathy, of Nature. He has no more confidence in the visible earth than in the invisible heavens, and neither here nor there is he able to persuade himself to discover a counsellor or a friend. In this connection, we do well to follow the poet’s train of thought in the lyric called “In a Wood,” where he enters a copse dreaming that, in that realm of “sylvan peace,” Nature would offer “a soft release from man’s unrest.” He immediately observes that the pine and the beech are struggling for existence, and trying to blight each other with dripping poison. He sees the ivy eager to strangle the elm, and the hawthorns choking the hollies. Even the poplars sulk and turn black under the shadow of a rival. In the end, filled with horror at all these crimes of Nature, the poet flees from the copse as from an accursed place, and he determines that life offers him no consolation except the company of those human beings who are as beleaguered as himself: —
“Since, then, no grace I find Taught me of trees, Turn I back to my kind Worthy as these. There at least smiles abound, There discourse trills around, There, now and then, are found, Life-loyalties.”
It is absurd, he decides, to love Nature, which has either no response to give, or answers in irony. Let us even avoid, as much as we can, deep concentration of thought upon the mysteries of Nature, lest we become demoralised by contemplating her negligence, her blindness, her implacability. We find here a violent reaction against the poetry of egotistic optimism which had ruled the romantic school in England for more than a hundred years, and we recognise a branch of Mr. Hardy’s originality. He has lifted the veil of Isis, and he finds beneath it, not a benevolent mother of men, but the tomb of an illusion. One short lyric, “Yell’ham-Wood’s Story,” puts this, again with a sylvan setting, in its unflinching crudity: —
“Coomb-Firtrees say that Life is a moan, And Clyffe-hill Clump says ‘Yea!’ But Yell’ham says a thing of its own: It’s not, ‘Gray, gray, Is Life alway!’ That Yell’ham says, Nor that Life is for ends unknown.
“It says that Life would signify A thwarted purposing: That we come to live, and are called to die. Yes, that’s the thing In fall, in spring, That Yell’ham says: — Life offers — to deny!’“
It is therefore almost exclusively to the obscure history of those who suffer and stumble around him, victims of the universal disillusion, men and women “come to live but called to die,” that Mr. Hardy dedicates his poetic function. “Lizbie Browne” appeals to us as a typical instance of his rustic pathos, his direct and poignant tenderness, and if we compare it with such poems of Wordsworth’s as “Lucy Gray” or “Alice Fell” we see that he starts by standing much closer to the level of the subject than his great predecessor does. Wordsworth is the benevolent philosopher sitting in a post-chaise or crossing the “wide moor” in meditation. Mr. Hardy is the familiar neighbour, the shy mourner at the grave; his relation is a more intimate one: he is patient, humble, un-upbraiding. Sometimes, as in the remarkable colloquy called “The Ruined Maid,” his sympathy is so close as to offer an absolute flout in the face to the system of Victorian morality. Mr. Hardy, indeed, is not concerned with sentimental morals, but with the primitive instincts of the soul, applauding them, or at least recording them with complacency, even when they outrage ethical tradition, as they do in the lyric narrative called “A Wife and Another.” The stanzas “To an Unborn Pauper Child” sum up what is sinister and what is genial in Mr. Hardy’s attitude to the unambitious forms of life which he loves to contemplate.
His temperature is not always so low as it is in the class of poems to which we have just referred, but his ultimate view is never more sanguine. He is pleased sometimes to act as the fiddler at a dance, surveying the hot-blooded couples, and urging them on by the lilt of his instrument, but he is always perfectly aware that they will have “to pay high for their prancing” at the end of all. No instance of this is more remarkable than the poem called “Julie-Jane,” a perfect example of Mr. Hardy’s metrical ingenuity and skill, which begins thus: —
“Sing; how ‘a would sing! How ‘a would raise the tune When we rode in the waggon from harvesting By the light o’ the moon!
“Dance; how ‘a would dance! If a fiddlestring did but sound She would hold out her coats, give a slanting glance, And go round and round.
“Laugh; how ‘a would laugh! Her peony lips would part As if none such a place for a lover to quaff At the deeps of a heart,”
and which then turns to the most plaintive and the most irreparable tragedy, woven, as a black design on to a background of gold, upon this basis of temperamental joyousness.
Alphonse Daudet once said that the great gift of Edmond de Goncourt was to, “rendre l’irrendable.” This is much more true of Mr. Hardy than it was of Goncourt, and more true than it is of any other English poet except Donne. There is absolutely no observation too minute, no flutter of reminiscence too faint, for Mr. Hardy to adopt as the subject of a metaphysical lyric, and his skill in this direction has grown upon him; it is nowhere so remarkable as in his latest volume, aptly termed Moments of Vision. Everything in village life is grist to his mill; he seems to make no selection, and his field is modest to humility and yet practically boundless. We have a poem on the attitude of two people with nothing to do and no book to read, waiting in the parlour of an hotel for the rain to stop, a recollection after more than forty years. That the poet once dropped a pencil into the cranny of an old church where he was sketching inspires an elabourate lyric. The disappearance of a rotted summer-house, the look of a row of silver drops of fog condensed on the bar of a gate, the effect of candlelight years and years ago on a woman’s neck and hair, the vision of a giant at a fair, led by a dwarf with a red string — such are amongst the subjects which awaken in Mr. Hardy thoughts which do often lie too deep for tears, and call for interpretation in verse. The skeleton of a lady’s sunshade, picked up on Swanage Cliffs, the pages of a fly-blown Testament lying in a railway waiting-room, a journeying boy in a third-class carriage, with his ticket stuck in the band of his hat — such are among the themes which awake in Mr. Hardy’s imagination reveries which are always wholly serious and usually deeply tragic.
Mr. Hardy’s notation of human touches hitherto excluded from the realm of poetry is one of the most notable features of his originality. It marked his work from the beginning, as in the early ballad of “The Widow,” where the sudden damping of the wooer’s amatory ardour in consequence of his jealousy of the child is rendered with extraordinary refinement. The difficulty of course is to know when to stop. There is always a danger that a poet, in his search after the infinitely ingenious, may lapse into amphigory, into sheer absurdity and triviality, which Cowper, in spite of his elegant lightness, does not always escape. Wordsworth, more serious in his intent, fell headlong in parts of Peter Bell, and in such ballads as “Betty Foy.” Mr. Hardy, whatever the poverty of his incident, commonly redeems it by the oddity of his observation; as in “The Pedigree”: —
“I bent in the deep of night Over a pedigree the chronicler gave As mine; and as I bent there, half-unrobed, The uncurtained panes of my window-square Let in the watery light Of the moon in its old age: And green-rheumed clouds were hurrying past Where mute and cold it globed Like a dying dolphin’s eye seen through a lapping wave.”
Mr. Hardy’s love of strange experiences, and of adventures founded on a balance of conscience and instinct, is constantly exemplified in those ballads and verse-anecdotes which form the section of his poetry most appreciated by the general public. Among these, extraordinarily representative of the poet’s habit of mind, is “My Cicely,” a tale of the eighteenth century, where a man impetuously rides from London through Wessex to be present at the funeral of the wrong woman; as he returns, by a coincidence, he meets the right woman, whom he used to love, and is horrified at “her liquor-fired face, her thick accents.” He determines that by an effort of will the dead woman (whom he never saw) shall remain, what she seemed during his wild ride, “my Cicely,” and the living woman be expunged from memory. A similar deliberate electing that the dream shall hold the place of the fact is the motive of “The Well-Beloved.” The ghastly humour of “The Curate’s Kindness” is a sort of reverse action of the same mental subtlety. Misunderstanding takes a very prominent place in Mr. Hardy’s irony of circumstance; as, almost too painfully, in “The Rash Bride,” a hideous tale of suicide following on the duplicity of a tender and innocent widow.
The grandmother of Mr. Hardy was born in 1772, and survived until 1857. From her lips he heard many an obscure old legend of the life of Wessex in the eighteenth century. Was it she who told him the terrible Exmoor story of “The Sacrilege;” the early tale of “The Two Men,” which might be the skeleton-scenario for a whole elabourate novel; or that incomparable comedy in verse, “The Fire at Tranter Sweatley’s,” with its splendid human touch at the very end? We suspect that it was; and perhaps at the same source he acquired his dangerous insight into the female heart, whether exquisitely feeble as in “The Home-coming” with its delicate and ironic surprise, or treacherous, as in the desolating ballad of “Rose-Ann.” No one, in prose or verse, has expatiated more poignantly than Mr. Hardy on what our forefathers used to call “cases of conscience.” He seems to have shared the experiences of souls to whom life was “a wood before your doors, and a labyrinth within the wood, and locks and bars to every door within that labyrinth,” as Jeremy Taylor describes that of the anxious penitents who came to him to confession. The probably very early story of “The Casterbridge Captains” is a delicate study in compunction, and a still more important example is “The Alarm,” where the balance of conscience and instinct gives to what in coarser hands might seem the most trivial of actions a momentous character of tragedy.
This is one of Mr. Hardy’s studies in military history, where he is almost always singularly happy. His portraits of the non-commissioned officer of the old service are as excellent in verse as they are in the prose of The Trumpet-Major or The Melancholy Hussar. The reader of the novels will not have to be reminded that “Valenciennes” and the other ballads have their prose-parallel in Simon Burden’s reminiscences of Minden. Mr. Hardy, with a great curiosity about the science of war and a close acquaintance with the mind of the common soldier, has pondered on the philosophy of fighting. “The Man he Killed,” written in 1902, expresses the wonder of the rifleman who is called upon to shoot his brother-in-arms, although
“Had he and I but met, By some old ancient inn, We should have set us down to wet Right many a nipperkin.”
In this connection the Poems of War and Patriotism, which form an important part of the volume of 1918, should be carefully examined by those who meditate on the tremendous problems of the moment.
A poet so profoundly absorbed in the study of life could not fail to speculate on the probabilities of immortality. Here Mr. Hardy presents to us his habitual serenity in negation. He sees the beautiful human body “lined by tool of time,” and he asks what becomes of it when its dissolution is complete. He sees no evidence of a conscious state after death, of what would have to be, in the case of aged or exhausted persons, a revival of spiritual force, and on the whole he is disinclined to cling to the faith in a future life. He holds that the immortality of a dead man resides in the memory of the living, his “finer part shining within ever-faithful hearts of those bereft.” He pursues this theme in a large number of his most serious and affecting lyrics, most gravely perhaps in “The To-be-Forgotten” and in “The Superseded.” This sense of the forlorn condition of the dead, surviving only in the dwindling memory of the living, inspires what has some claims to be considered the loveliest of all Mr. Hardy’s poems, “Friends Beyond,” which in its tenderness, its humour, and its pathos contains in a few pages every characteristic of his genius.
His speculation perceives the dead as a crowd of slowly vanishing phantoms, clustering in their ineffectual longing round the footsteps of those through whom alone they continue to exist. This conception has inspired Mr. Hardy with several wonderful visions, among which the spectacle of “The Souls of the Slain” in the Boer War, alighting, like vast flights of moths, over Portland Bill at night, is the most remarkable. It has the sublimity and much of the character of some apocalyptic design by Blake. The volume of 1902 contains a whole group of phantasmal pieces of this kind, where there is frequent mention of spectres, who address the poet in the accents of nature, as in the unrhymed ode called “The Mother Mourns.” The obsession of old age, with its physical decay (“I look into my glass”), the inevitable division which leads to that isolation which the poet regards as the greatest of adversities (“The Impercipient”), the tragedies of moral indecision, the contrast between the tangible earth and the bodyless ghosts, and endless repetition of the cry, “Why find we us here?” and of the question “Has some Vast Imbecility framed us in jest, and left us now to hazardry?” — all start from the overwhelming love of physical life and acquaintance with its possibilities, which Mr. Hardy possesses to an inordinate degree.
It would be ridiculous at the close of an essay to attempt any discussion of the huge dramatic panorama which many believe to be Mr. Hardy’s most weighty contribution to English literature. The spacious theatre of The Dynasts with its comprehensive and yet concise realisations of vast passages of human history, is a work which calls for a commentary as lengthy as itself, and yet needs no commentary at all. No work of the imagination is more its own interpreter than this sublime historic peep-show, this rolling vision of the Napoleonic chronicle drawn on the broadest lines, and yet in detail made up of intensely concentrated and vivid glimpses of reality. But the subject of my present study, the lyrical poetry of Mr. Hardy, is not largely illustrated in The Dynasts, except by the choral interludes of the phantom intelligences, which have great lyrical value, and by three or four admirable songs.
When we resume the effect which the poetry of Mr. Hardy makes upon the careful reader, we note, as I have indicated already, a sense of unity of direction throughout. Mr. Hardy has expressed himself in a thousand ways, but has never altered his vision. From 1867 to 1917, through half a century of imaginative creation, he has not modified the large outlines of his art in the smallest degree. To early readers of his poems, before the full meaning of them became evident, his voice sounded inharmonious, because it did not fit in with the exquisite melodies of the later Victorian age. But Mr. Hardy, with characteristic pertinacity, did not attempt to alter his utterance in the least, and now we can all perceive, if we take the trouble to do so, that what seemed harsh in his poetry was his peculiar and personal mode of interpreting his thoughts to the world.
As in his novels so in his poems, Mr. Hardy has chosen to remain local, to be the interpreter for present and future times of one rich and neglected province of the British realm. From his standpoint there he contemplates the wide aspect of life, but it seems huge and misty to him, and he broods over the tiny incidents of Wessex idiosyncracy. His irony is audacious and even sardonic, and few poets have been less solicitous to please their weaker brethren. But no poet of modern times has been more careful to avoid the abstract and to touch upon the real.
UNDER FRENCH ENCOURAGEMENT by David Christie Murray
This essay was published by the novelist David Christie Murray and is taken from the book My Contemporaries in Fiction in 1897. The essay explores the influence of French fiction in Hardy’s novels.
The novelist and critic David Christie Murray
VI. — UNDER FRENCH ENCOURAGEMENT — THOMAS HARDY
Within the last half-score of years an extraordinary impulse towards freedom in the artistic representation of life has touched some of our English writers. Thackeray, in ‘Pendennis,’ laments that since Fielding no English novelist has ‘dared to draw a man.’ Dr. George Macdonald, in his ‘Robert Falconer,’ whispers, in a sort of stage aside, his wish that it were possible to be both decent and honest in the exposition of the character of the Baron of Rothie, who is a seducer by profession. Perhaps the most distinguishing characteristic of Thackeray was, that he was a gentleman, and that his good-breeding and his manliness were essentially of the English pattern. Dr. Mac-donald’s most intense impulse is towards purity of life, as an integral necessity for that communion with the Eternal Fatherhood which he preaches with so much earnestness and charm. That two such men should have felt that their work was subject to a painful limitation on one side of it is significant, but it is a fact which may be used with equal force as an argument by the advocates of the old method and the adopters of the new. It is perfectly true that they felt the restriction, but it is equally true that they respected it, and were resolute not to break through it. Their cases are cited here, not as an aid to argument on one side or the other, but simply to show that the argument itself is no new thing — that the question as to how far freedom is allowable has been debated in the minds of honest writers, and decided in one way, long before it came to be debated by another set of honest writers, who decided it in another.
