By F. B. Pinion (auth.)
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Extra resources for Thomas Hardy: Art and Thought
Example text
Almost at the opposite extreme is 'Beeny Cliff', a poem recalling Hardy's happy love. It is colourful, and much in recent years has been made of its Virgilian purples, though the poet was simply reflecting the colours he had seen. It contains a remarkable evocation of sound and scene, height and depth, sea and headland, movement and change: The pale mews plained below us, and the waves seemed far away In a nether sky engrossed in saying their ceaseless babbling say, As we laughed light-heartedly aloft on that clear-sunned March day.
Nor is it likely, indeed, that imaginative writings extending over more than forty years would exhibit a coherent scientific theory of the universe even if it had been attempted - of that universe concerning which Spencer owns to the 'paralyzing thought' that possibly there exists no comprehension of it anywhere. An examination of some of the items in the 'confused heap of impressions' which accumulated in over sixty years of Hardy's writing shows that his view of Necessity was not absolute. THOMAS HARDY: ART AND THOUGHT In 'Discouragement', a poem begun possibly in 1863 (not later than 1865), Hardy couples injustice at birth with the defects of Nature: Her loves dependent on a feature's trim, A whole life's circumstance on hap of birth, A soul's direction on a body's whim ....
THOMAS HARDY: ART AND THOUGHT It is the weaker or less admirable characters in Hardy who blame some remote Power for untoward circumstances and events which could have been avoided. Eustacia Vye is 'one who, though willing to ward off evil consequences by a mild effort, would let events fall out as they might sooner than wrestle hard to direct them'. After her failure to act at the most crucial point in the tragedy, 'instead of blaming herself ... she laid the fault upon the shoulders of some indistinct, colossal Prince of the World, who had framed her situation and ruled her lot'.