A Companion to Thomas Hardy by Keith Wilson (ed.)

By Keith Wilson (ed.)

Via unique essays from a amazing crew of foreign students and Hardy experts, A spouse to Thomas Hardy offers a special, one-volume source, which encompasses all facets of Hardy's significant novels, brief tales, and poetry

  • Informed by means of the most recent in scholarly, severe, and theoretical debates from the various world's top Hardy scholars
  • Reveals groundbreaking insights via examinations of Hardy’s significant novels, brief tales, poetry, and drama
  • Explores Hardy's paintings within the context of the most important highbrow and socio-cultural currents of his time and assesses his legacy for next writers

Chapter 1 Hardy as Biographical topic (pages 5–18): Michael Millgate
Chapter 2 Hardy and Philosophy (pages 19–35): Phillip Mallett
Chapter three Hardy and Darwin: a fascinating Hardy? (pages 36–53): George Levine
Chapter four Hardy and where of tradition (pages 54–70): Angelique Richardson
Chapter five “The difficult Case of the Would?be?Religious”: Hardy and the Church from youth to Later Years (pages 71–85): Pamela Dalziel
Chapter 6 Thomas Hardy's Notebooks (pages 86–101): William Greenslade
Chapter 7 “Genres will not be to be combined. … i can't combine them”: Discourse, Ideology, and accepted Hybridity in Hardy's Fiction (pages 102–116): Richard Nemesvari
Chapter eight Hardy and his Critics: Gender within the Interstices (pages 117–129): Margaret R. Higonnet
Chapter nine “His Country”: Hardy within the Rural (pages 131–145): Ralph Pite
Chapter 10 Thomas Hardy of London (pages 146–161): Keith Wilson
Chapter eleven “A Thickness of Wall”: Hardy and sophistication (pages 162–177): Roger Ebbatson
Chapter 12 studying Hardy via costume: The Case of faraway from the Madding Crowd (pages 178–193): Simon Gatrell
Chapter thirteen Hardy and Romantic Love (pages 194–209): Michael Irwin
Chapter 14 Hardy and the visible Arts (pages 210–222): J. B. Bullen
Chapter 15 Hardy and song: Uncanny Sounds (pages 223–238): Claire Seymour
Chapter sixteen The Darkening Pastoral: below the Greenwood Tree and much From the Madding Crowd (pages 239–253): Stephen Regan
Chapter 17 “Wild areas of Obscurity”: Narrative within the go back of the local (pages 254–266): Penny Boumelha
Chapter 18 Hardy's “Novels of Ingenuity” (pages 267–280): Mary Rimmer
Chapter 19 Hardy's “Romances and Fantasies” (pages 281–298): Jane Thomas
Chapter 20 The Haunted constructions of The Mayor of Casterbridge (pages 299–312): Julian Wolfreys
Chapter 21 Dethroning the excessive Priest of Nature within the Woodlanders (pages 313–327): Andrew Radford
Chapter 22 Melodrama, imaginative and prescient, and Modernity: Tess of the d'Urbervilles (pages 328–344): Tim Dolin
Chapter 23 Jude the vague and English nationwide id: The non secular Striations of Wessex (pages 345–363): Dennis Taylor
Chapter 24 “… into the arms of Pure?Minded English Girls”: Hardy's brief tales and the past due Victorian Literary market (pages 364–377): Peter Widdowson
Chapter 25 series and sequence in Hardy's Poetry (pages 378–394): Tim Armstrong
Chapter 26 Hardy's Poems: The Scholarly state of affairs (pages 395–412): William W. Morgan
Chapter 27 that is exhibit company: Spectacle, Narration, and Laughter within the Dynasts (pages 413–430): G. Glen Wickens
Chapter 28 Modernist Hardy: Hand?Writing within the Mayor of Casterbridge (pages 431–449): J. Hillis Miller
Chapter 29 Inhibiting the Voice: Thomas Hardy and sleek Poetics (pages 450–464): Charles Lock
Chapter 30 Hardy's Heirs: D. H. Lawrence and John Cowper Powys (pages 465–478): Terry R. Wright

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Eustacia chooses death rather than face the choice of life on Egdon or flight as Wildeve’s mistress. Jude’s death, deliberately brought about, is a protest against the injustice of the world, and the ideology which has ensnared Sue. Even Henchard, who demands “that no man remember me,” compels our regard with his last words: “To this I put my name. Michael Henchard” (MC 309). Suicide, for each of them, becomes a form of self-assertion. On Schopenhauer’s terms, only Tess finds the right way to die, as she rises from the altar at Stonehenge with the words “I am ready” (TD 382).

Letter to Thomas Hardy, Dec. 29, 1891. Dorset County Museum. Hughes, John (2001) “Ecstatic Sound”: Music and Individuality in the Work of Thomas Hardy. Aldershot: Ashgate. Huxley, Thomas H. (1893–4). Collected Essays, 8 vols. London: Macmillan. 35 Kelly, Mary Ann (1982). Hardy’s Reading of Schopenhauer: Tess of the d’Urbervilles. Colby Library Quarterly, 28, 183–98. Levine, George (1962). Determinism and Responsibility in the Works of George Eliot. PMLA, 77, 268–79. Mill, John Stuart ([1843] 1987).

Extending] even to the animals and to the whole of nature” (Schopenhauer [1819] 1969 I: 372). ” Severe moralist though he is, Schopenhauer writes at times as though he would have agreed with Hardy’s Elizabeth-Jane, that in a “brief transit through a sorry world . . neither she nor any human being deserved less than was given” (MC 310). Nowhere does Schopenhauer find the predominance of the will over the intellect more evident than in sexual feeling, on which he writes searchingly as well as coldly.

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