By Trevor Johnson
An research of a number Hardy's poems, together with love poems, poems approximately principles, humans and areas and approximately seasons and animals. The poems are grouped by way of topic and the textual content used for the poems is from Dr James Gibson's "Thomas Hardy: the whole Poems". each 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 examining record" (1974).
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Extra info for A Critical Introduction to the Poems of Thomas Hardy
But there was no direct debt. Rather it was his attitude to the craft of poetry which attracted these young men, as it was still to do with an even younger generation; W. H. Auden, C. Day Lewis, Dylan Thomas and Philip Larkin among them. What made so strong an appeal was his refusal to edit experience, his determination to show 'the grandeur underlying the sorriest things, the sorriness underlying the grandest things', Hardy's own formulation of the mission of poetry. Perhaps a poem by Robert Graves, another visitor, (though it is not about Hardy but Hardy's Life 35 entitled A Country Mansion) contains the best metaphor of Hardy's creative longevity, A smell of mould from loft to cellar Yet sap still brisk in the oak Of the great beams: if ever they use a saw It will stain, as cutting a branch from a green tree.
Wrote Hardy in fond retrospect. On her side there was the initial attraction of the mysterious scrap of paper. Hardy no doubt soon told her of his literary hopes; indeed, Emma was to write out the whole of the fair copy of Desperate Remedies for him subsequently. For his part her gaiety, the childlike enthusiasm which she never lost, her spontaneity, were all qualities new to him in women no doubt. And day-to-day proximity, with the virtually total absence of any other young women at all, must have sharpened her physical attractiveness a good deal.
All his life he was fascinated by the technicalities of verse. A devoted experimentalist, he employed more distinctive stanza forms than any other English poet, sometimes writing 'skeleton' outlines in order to ' tryout' new patterns. An occasional over-reaching is the price we have to pay for his many triumphs in harmonising the movement of his verse with the mood he wishes to convey. His The Fallow Deer at the Lonely House (551/C/D/G/H/*) perfectly exemplifies this gift in its second verse. We do not discern those eyes Watching in the snow; Lit by lamps of rosy dyes We do not discern those eyes Wondering, aglow Four-footed, tip-toe.
A Critical Introduction to the Poems of Thomas Hardy by Trevor Johnson