Hostname: page-component-586b7cd67f-r5fsc Total loading time: 0 Render date: 2024-11-23T21:21:42.454Z Has data issue: false hasContentIssue false

HARDY'S MEMORIAL ART: IMAGE AND TEXT IN WESSEX POEMS

Published online by Cambridge University Press:  25 October 2013

Linda M. Shires*
Affiliation:
Yeshiva University

Extract

Thomas Hardy noted regretfully: “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and references to specific art works, he overtly probed the image/text relation in his 1898 debut volume of poetry: Wessex Poems and Other Verses, by Thomas Hardy, with 30 Illustrations by the Author. Although a reading experience dependent upon the original aesthetic interplay that Hardy had designed was destroyed in most subsequent printings, the first edition's partnership of image and text remains absolutely central to the book's multiple meanings. Indeed, Hardy's images and words should be regarded as inseparable, since they interact in what W. J. T. Mitchell has called a “composite art form” (83, 89).

Type
Research Article
Copyright
Copyright © Cambridge University Press 2013 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

WORKS CITED

Bailey, J. O.The Poetry of Thomas Hardy: A Handbook and Commentary, Chapel Hill: U North Carolina P, 1970.Google Scholar
Browning, Robert. “One Word More: To E. B. B,” The Complete Poetical Works of Browning. Cambridge ed. Boston: Houghton Mifflin, nd.Google Scholar
Bullen, J. B.The Expressive Eye: Fiction and Perception in Thomas Hardy. New York: Oxford UP, 1986.Google Scholar
Church of England and William Henry Monk. Hymns, Ancient and Modern: for Use in The Services of the Church, with Accompanying Tunes. London: Pott, Young, 1876.Google Scholar
Cox, R. G., ed. Thomas Hardy: The Critical Heritage. New York: Barnes & Noble, 1970.Google Scholar
Dalziel, Pamela. “Drawings and Withdrawings: The Vicissitudes of Thomas Hardy's Wessex Poems.” Studies in Bibliography 50 (1997): 390400.Google Scholar
Dalziel, Pamela. “‘The Hard Case of the Would-Be Religious’: Hardy and the Church.” A Companion to Thomas Hardy. Ed. Wilson, Keith. Malden: Blackwell, 2009. 7185.CrossRefGoogle Scholar
Eliot, George. Middlemarch. Ed. Carroll, David. New York: Oxford UP, 1996.Google Scholar
Fuss, Diana. “Corpse Poem.” Critical Inquiry 30.1 (Autumn 2003): 130.CrossRefGoogle Scholar
Gosse, Edmund. “Mr. Hardy's Lyrical Poems.” Edinburgh Review April 1918: cvvii, 272.Google Scholar
Gray, Thomas. Gray Poetry and Prose. Ed. Crofts, J.. Oxford: Clarendon P, 1948.Google Scholar
Hardy, Florence. The Life and Work of Thomas Hardy 1840–1928. New York: Macmillan, 1962.CrossRefGoogle Scholar
Hardy, Thomas. “Apology.” The Complete Poems. Ed. Gibson, James. New York: Macmillan, 1976.Google Scholar
Hardy, Thomas. The Collected Letters of Thomas Hardy 1893–1901. Vol. 2. Ed. Purdy, Richard Little and Millgate, Michael. New York: Oxford UP, 1980.Google Scholar
Hardy, Thomas. The Complete Poems. Ed. Gibson, James. New York: Macmillan, 1978.Google Scholar
Hardy, Thomas. Letter to Edmund Gosse 4 February 1918. Selected Letters. Ed. Millgate, Michael. Oxford: Oxford UP, 1990.Google Scholar
Hardy, Thomas. The Well-Beloved. New York: Harper & Brothers, 1897.Google Scholar
Hardy, Thomas. Wessex Poems and Other Verses. London and New York: Harper & Brothers, 1898.Google Scholar
Hardy, Thomas. Wessex Poems and Other Verses. Ed. Johnson, Trevor. Facsimile of 1898 edition. Keele, Staffordshire: Ryburn, 1995.Google Scholar
Hardy, Thomas. Wessex Poems. Ed. Thornton, R. K. R. and Small, Ian. Facsimile of 1898 edition. West Yorkshire: Woodstock, 1994.Google Scholar
Herbert, George. The Complete English Poems. Ed. Tobin, John. New York: Penguin, 2005.Google Scholar
Holy Bible. Authorized King James Version. New York: Oxford UP, nd.Google Scholar
Hynes, Samuel. The Complete Poetical Works of Thomas Hardy. New York: Oxford UP, 1982–1995.Google Scholar
Johnson, Trevor, ed. “Introduction.” Wessex Poems and Other Verses. Keele, Staffordshire: Ryburn, 1995. 1142.Google Scholar
Macmillan Letterbooks. British Library. ADD MS55508. As quoted in Dalziel “Drawings.”Google Scholar
Miller, J. Hillis. The Linguistic Moment from Wordsworth to Stevens. Princeton: Princeton UP, 1985.Google Scholar
Mitchell, W. J. T.Picture Theory: Essays on Verbal and Visual Representation. Chicago: U of Chicago P, 1995.Google Scholar
Moore, Kevin Z. The Descent of the Imagination: Postromantic Culture in the Later Novels of Thomas Hardy. New York: New York UP, 1990.Google Scholar
Purdy, Richard Little. Thomas Hardy: A Bibliographical Study. New York: Oxford UP, 1954.Google Scholar
Quiller-Couch, Arthur. “A Literary Causerie: Mr. Hardy's ‘Wessex Poems.’Speaker 24 (Dec. 1898): 756.Google Scholar
Riquelme, Jean Paul. “The Modernity of Thomas Hardy's Poetry.” The Cambridge Companion to Thomas Hardy. Ed. Kramer, Dale. Cambridge: Cambridge UP, 1999. 204–23.CrossRefGoogle Scholar
Shakespeare, William. The Sonnets. Ed. Bush, Douglas and Harbage, Alfred. New York: Penguin, 1961.Google Scholar
Shires, Linda M. “Hardy's Browning: Refashioning the Lyric.” Victorian Poetry, Robert Browning Bicentenary Special Issue: Robert Browning Among the Victorians and After. Ed. Martens, Britta and Gibson, Mary Ellis. 50.4 (Winter 2012): 583603.CrossRefGoogle Scholar
Taylor, Dennis. “Thomas Hardy and Thomas Gray: The Poet's Currency.” ELH 65.2 (1998): 451–77.CrossRefGoogle Scholar
Taylor, Dennis. Hardy's Literary Language and Victorian Philology. Oxford: Oxford UP, 1994.Google Scholar
Tennyson, Alfred. The Poems of Tennyson. Volume 2. Ed. Ricks, Christopher. Berkeley: U California P, 1987.Google Scholar
Trench, R. C.English Past and Present, New York: Redfield, 1855.Google Scholar
Trench, R. C.On the Study of Words, London: Redfield, 1852.Google Scholar
Volosinov, V. N.Marxism and the Philosophy of Language. Cambridge: Harvard UP, 1986.Google Scholar
Watkins, S. Cornish. “Curfew-Tide.” Christian Work: Illustrated Family Newspaper (57) 27 Sept. 1894: 516.Google Scholar
Williams, Anne. “Elegy into Lyric: Elegy Written in a Country Churchyard.” Thomas Gray's Elegy Written in a Country Churchyard. Ed. Bloom, Harold. New York: Chelsea House, 1987. 101–18.Google Scholar
Wordsworth, William. Wordsworth Poetical Works. Ed. Hutchinson, Thomas. London: Oxford UP, 1974.Google Scholar