Katherine K. Maynard - Thomas Hardys Tragic Poetry: The Lyrics and The Dynasts
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Thomas Hardys Tragic Poetry: The Lyrics and The Dynasts
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Thomas Hardy's Tragic Poetry : The Lyrics and The Dynasts
author
:
Maynard, Katherine Kearney.
publisher
:
University of Iowa Press
isbn10 | asin
:
0877453446
print isbn13
:
9780877453444
ebook isbn13
:
9781587291456
language
:
English
subject
Hardy, Thomas,--1840-1928--Poetic works, Napoleonic Wars, 1800-1815--Literature and the wars, Historical drama, English--History and criticism, Hardy, Thomas,--1840-1928.--Dynasts, Tragic, The, in literature.
publication date
:
1991
lcc
:
PR4757.P58M39 1991eb
ddc
:
821/.8
subject
:
Hardy, Thomas,--1840-1928--Poetic works, Napoleonic Wars, 1800-1815--Literature and the wars, Historical drama, English--History and criticism, Hardy, Thomas,--1840-1928.--Dynasts, Tragic, The, in literature.
Page iii
Thomas Hardy's Tragic Poetry
The Lyrics and The Dynasts
By Katherine Kearney Maynard
UNIVERSITY OF IOWA PRESS Iowa City
Page iv
University of Iowa Press, Iowa City 52242 Copyright 1991 by the University of Iowa All rights reserved Printed in the United States of America First edition, 1991
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher.
Printed on acid-free paper
Library of Congress Cataloging-in-Publication Data Maynard, Katherine Kearney. Thomas Hardy's tragic poetry: the lyrics and The dynasts/ by Katherine Kearney Maynard. p. cm. Includes bibliographical references and index. ISBN 0-87745-344-6 (alk. paper) 1. Hardy, Thomas, 18401928Poetic works. 2. Hardy, Thomas, 18401928. Dynasts. 3. Tragic, The, in literature. I. Title. PR4757.P58M39 1991 91-15975 821'.8dc20 CIP
Page v
Dedicated with love to HEATHER AND JAROD, dedicated and loving children
Page vii
Contents
Acknowledgments
ix
Preface: Figure in a Tragic Landscape
xi
1. The Fate of Tragedy
1
2. Romantic Tragedy
14
3. The Dynasts
56
4. The Tragic Lyric
109
Conclusion: The Limits of Tragedy
180
Notes
189
Bibliography
207
Index
225
Page ix
Acknowledgments
In the long process of reviewing and modifying and refining a manuscript, it is easy to lose sight of the early stages during which the subject was conceived. I wish to acknowledge Anthony Hecht, who directed the dissertation from which this book evolved, for first suggesting to me the scope of Thomas Hardy's achievement as a tragic artist. His thoughtful comments enabled me to view Hardy's poetry and literature from a new and, I hope, insightful perspective.
I would also like to thank George Ford, whose comments on the Victorian literary milieu clarified my understanding of the temper of the age and the significance of the era's drama. His constant encouragement and good cheer were much appreciated during the early, grueling stages of writing.
Finally, I wish to thank my helpful readers and editors at the University of Iowa Press, whose diligence in reviewing my manuscript inspired many useful alterations.
Page xi
Preface: Figure in a Tragic Landscape
Robert Rosenblum introduces his study Modern Painting and the Northern Romantic Tradition by juxtaposing Caspar David Friedrich's Monk by the Sea (1809) with Mark Rothko's Green on Blue (1956). The Rothko painting consists of two roughly equivalent rectangles of color that seem to burn with the warping power of flames in an open blast furnace. The two color blocks create an energy field of contending forces whose utter bareness presents an image of elemental purity. The Friedrich piece, a seascape, consists of a gray-green sky, which fills roughly two-thirds of the composition, and two approximately equal bands of black and sand gray to represent sea and shore. The composition is wholly empty except for a lonely figure who is gazing into the distance. Rosenblum asks: "If these paintings look alike in their renunciation of almost everything but a somber, luminous void, is this merely an example of what Erwin Panofsky once called 'pseudomorphosis'... ? Or does this imply that there may be a true connection between Friedrich and Rothko, that the similarity of their formal structure is the result of a similarity of feeling and intention?"1 Rosenblum persuasively argues that there is a connection in feeling as well as form that bridges the 150-year gulf between these works. The connection consists of a common dilemma. Like Friedrich, Rothko was compelled, Rosenblum asserts, to "revitalize the experience of divinity in a secu-
Page xii
lar world that lay outside the sacred confines of traditional iconography."2
The development in painting from Friedrich to Rothko has a parallel in literature. Between Wordsworth's Solitary and Beckett's lost figures in the desert waiting for a Godot who never arrives, stands the Hardyean figure in the landscape.3 This figure inherits and carries on the sense of isolation and individualism of his Romantic forebears, and he shares the elegiac melancholy of his Victorian contemporaries. He also bears the seeds of the tragicomic existentialists of Beckett's plays, but there is more to this spare figure than first meets the eye.
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