Abstract
For the English line we are identifying, the first quarter of the twentieth century was a major resurgence. There were of course chance factors, but it is still the clearest group of nature-based, plain-speech, inward poetry since the time of Wordsworth himself. No other group has appeared since until the 1950s and early 60s, when in Larkin, R. S. Thomas, Hughes and the early Heaney it looked as though a sort of rural version of the ‘Movement’ of the 50s might be forthcoming. That idea is still not wholly discountable for that period, although the three named poets still living have all long moved to other things. The dangers of canon imposition hover always, yet one discerns here by criteria of the mode of writing itself, a clear group, no group, and then a shadowy group, in three broad successive periods. For the earlier twentieth-century period one can first delineate some main considerations.
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Notes and References
Donald Davie, Thomas Hardy And British Poetry (Routledge & Kegan Paul, 1973); Edna Longley, Preface to Edward Thomas: Poems And Last Poems (Collins, 1973).
Cf. Linda Dowling, Language And Decadence In The Victorian Fin De Siècle (Princeton University Press, 1986).
Quoted in Robert Graves, Goodbye To All That (Penguin Books, 1960), p. 251; Creighton, op. cit., p. 319.
The standard biographies are Robert Gittings Young Thomas Hardy (Penguin Books, 1975); Robert Gittings The Older Hardy (Penguin Books, 1980); Michael Milgate, Thomas Hardy (Oxford University Press, 1982), p. 439.
Florence Emily Hardy, The Life Of Thomas Hardy 1840–1928 (London, 1962), p. 386. (This book was written largely by Thomas Hardy himself.)
J. Hillis Miller, Thomas Hardy: Distance And Desire (Oxford University Press, 1970), esp. ch. 2.
Florence Emily Hardy, op. cit., pp. 377-8.
Bloom, A Map Of Misreading, p. 20; Dennis Taylor, ‘Hardy and Wordsworth’ in The Thomas Hardy Journal, Vol. iv, No. 1 1988, p. 57.
Gittings, Young Thomas Hardy, pp. 57-61.
For example in Tess Of The D’Urbervilles, in ch. xxi Izz Huett kisses the shadow of Angel Clare’s mouth on the wall, and in ch. xxxvii Angel kisses Tess while he is sleep-walking.
Florence Emily Hardy, op. cit., pp. 209-10.
Larkin, op. cit., p. 175.
Letters Of Ezra Pound, ed. D. D. Paige (New York, 1950), p. 294.
John Carey, John Donne: Life, Mind And Art (Faber & Faber, 1981). p. 261.
Tom Paulin, ‘Hardy and the Human Voice’ in The Thomas Hardy Journal, Vol. III, No. 1 1987
Florence Emily Hardy, op. cit., pp. 105, 128.
These remarks are taken from longer passages, all cited at the start of Ralph Elliott, op. cit., pp. 13-17.
John Stuart Mill, Collected Works, ed. J. M. Robson (University of Toronto Press, 1963–84), Vol. I, pp. 152–3
Harriet Martineau, Autobiography (Virago Press, 1983), Vol. II, p. 239.
Davie, op. cit., p. 62.
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© 1991 John Powell Ward
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Ward, J.P. (1991). Thomas Hardy. In: The English Line. Palgrave, London. https://doi.org/10.1007/978-1-349-21481-5_7
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