Thomas Hardy (1) (1840–1928)
Author of Tess of the D'Urbervilles
For other authors named Thomas Hardy, see the disambiguation page.
About the Author
Thomas Hardy was born on June 2, 1840, in Higher Bockhampton, England. The eldest child of Thomas and Jemima, Hardy studied Latin, French, and architecture in school. He also became an avid reader. Upon graduation, Hardy traveled to London to work as an architect's assistant under the guidance of show more Arthur Bloomfield. He also began writing poetry. How I Built Myself a House, Hardy's first professional article, was published in 1865. Two years later, while still working in the architecture field, Hardy wrote the unpublished novel The Poor Man and the Lady. During the next five years, Hardy penned Desperate Remedies, Under the Greenwood Tree, and A Pair of Blue Eyes. In 1873, Hardy decided it was time to relinquish his architecture career and concentrate on writing full-time. In September 1874, his first book as a full-time author, Far from the Madding Crowd, appeared serially. After publishing more than two dozen novels, one of the last being Tess of the d'Urbervilles, Hardy returned to writing poetry--his first love. Hardy's volumes of poetry include Poems of the Past and Present, The Dynasts: Part One, Two, and Three, Time's Laughingstocks, and The Famous Tragedy of the Queen of Cornwall. From 1833 until his death, Hardy lived in Dorchester, England. His house, Max Gate, was designed by Hardy, who also supervised its construction. Hardy died on January 11, 1928. His ashes are buried in Poet's Corner at Westminster Abbey. (Bowker Author Biography) show less
Series
Works by Thomas Hardy
Far from the Madding Crowd / The Mayor of Casterbridge / Tess of the d'Urbervilles (1982) 302 copies
Tess of the d’Urbervilles: Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives (1891) 78 copies, 1 review
The Works of Thomas Hardy: With an Introduction and Bibliography (Wordsworth Collection) (1994) 65 copies
Far From the Madding Crowd / Jude the Obscure / The Mayor of Casterbridge / The Return of the Native / Tess of the d'Urbervilles (Five Novels) (2006) 56 copies
The Collected Novels: Volume II (Modern Library: Jude the Obscure ∙ Tess of the D'Urbervilles) (1994) 32 copies
A changed man : The waiting supper and other tales : concluding with The romantic adventures of a milk maid (1977) 30 copies, 1 review
The Collected Novels: Volume I (Modern Library: Far from the Madding Crowd ∙ The Return of the Native ∙ The Mayor of Casterbridge) (1994) 29 copies
Far from the Madding Crowd / The Mayor of Casterbridge / The Return of the Native / Tess of the D'Urbervilles / The Trumpet Major / Under the Greenwood Tree (6 Wessex novels) (1991) 24 copies, 1 review
Far from the Madding Crowd / The Mayor of Casterbridge / Tess of the d'Urbervilles / Wessex Tales / The Woodlanders (Omnibus) (1978) 22 copies
Outside the Gates of the World: Selected Short Stories (Everyman's Library (Paper)) (1996) 20 copies
Il violinista delle danze scozzesi 19 copies
Far From the Madding Crowd / The Return of the Native / Tess of the D'Urbervilles (3 novels) (1970) 11 copies
Complete Poetical Works of Thomas Hardy (Delphi Classics) (Delphi Poets Series Book 3) (2012) 9 copies
An triuir choigreach : 9 copies
Under the Greenwood Tree: Our Exploits at West Poley and Humorous Stories (Everyman's Library) (1996) 6 copies
The Thomas Hardy Collection (14 Novels, 3 Short Story Collections, and 3 Collections of Poetry all with active Table of Contents) (2011) 5 copies
The Complete Poetical Works of Thomas Hardy. Volume II: Satires of Circumstance, Moments of Vision, and Late Lyrics and Earlier (1984) 5 copies
Short Fiction 5 copies
The Complete Poetical Works of Thomas Hardy. Volume I: Wessex Poems, Poems of the Past and the Present, Time's Laughingstocks (1983) 5 copies
Romance Classics: Jane Eyre / Mansfield Park / Lorna Doone / Far from the Madding Crowd / Middlemarch / Agnes Grey (2001) — Author — 5 copies
A Tragedy of Two Ambitions 4 copies
The Complete Poetical Works of Thomas Hardy. Volume III: Human Shows, Winter Words, and Uncollected Poems (1985) 4 copies
Weathers 4 copies
The Convergence of the Twain 3 copies
To Please His Wive 3 copies
Wessex tales and A group of noble dames (The New Wessex edition of the stories of Thomas Hardy ; v. 1) (1977) 3 copies
The Trumpet-Major by Thomas Hardy - Delphi Classics (Illustrated) (Delphi Parts Edition (Thomas Hardy) Book 9) (2018) 3 copies
Il meglio di Thomas Hardy 3 copies
Reading & Training : Thomas Hardy : Far from the madding crowd [book + sound recording] (2017) — Writer — 2 copies
Reading & Training : Thomas Hardy : Tess of the D'Urbervilles [book + sound recording] (2003) — Writer — 2 copies
Die Liebe seines Lebens. Roman 2 copies
CRIMEN Y MISTERIO 2 copies
Seiner Frau zuliebe. Eine Tragödie des Ehrgeizes. (Zwei Erzählungen aus "Life's little ironies") (1920) 2 copies
The Complete Poetical Works of Thomas Hardy: Volume IV: The Dynasts, Parts First and Second (1995) 2 copies
Channel Firing 2 copies
A Few Crusted Characters 2 copies
The Superstitious Man's Story 2 copies
Montezuma smaragd : Rudyard Kipling, Jules Verne, August Strindberg, Selma Lagerlöf, [Thomas Hardy, Rodrigues Ottolengui (2005) 2 copies
Alicia's Diary 2 copies
Complete Works, Vol. VIII 1 copy
Complete Works, Vol. XII 1 copy
A Mere Interlude 1 copy
Poems of the Past & Present: “Beauty lay not in the thing, but in what the thing symbolized” (2020) 1 copy
Romantic Adventures Of A Milkmaid: "Time changes everything except something within us which is always surprised by change." (2013) 1 copy
Szafirowe oczy 1 copy
Hardy's Works (2 Volume Set) 1 copy
I Look Up From My Writing 1 copy
The Impercipient 1 copy
Under the Greenwood Tree, Vol. 2 of 2: A Rural Painting of the Dutch School (Classic Reprint) (2016) 1 copy
Rollercoasters (Paperback edit): The Withered Arm and Other Wessex Tales: Thomas Hardy (2010) 1 copy
The Man He Killed {poem} 1 copy
Hap 1 copy
During Wind and Rain 1 copy
The Ruined Maid 1 copy
Song of the soldiers 1 copy
Bir Hayatın Sırrı 1 copy
Poesia do Século XX 1 copy
Three Novels (P) 1 copy
Thomas Hardy: Selected Poems 1 copy
Thomas Hardy collection 1 copy
(all) 1 copy
Thomas Hardy - Poems of the Past & Present: “Beauty lay not in the thing, but in what the thing symbolized” (2020) 1 copy
For conscience's Sake 1 copy
The Oxen (Christmas Carol) 1 copy
Poems By Thomas Hardy 1 copy
SST 42 - Sotto gli alberi 1 copy
SST 63 - Due sulla torre 1 copy
SST 68 - Nel bosco 1 copy
SST 71 - Due occhi azzurri 1 copy
The Thomas Hardy Collection: Far from the Madding Crowd / The Mayor of Casterbridge / Tess of the D'Urbervilles (2010) — Author — 1 copy
Christmas Poems 1 copy
Heden (andra delen) 1 copy
Lifes Little Ironies, A Changed Man, A Group of Nobele Dames (3 Volumes in Slipcase / Boxed Set) (1993) 1 copy
Complete Works, Vol. IX 1 copy
Hardy and Pound 1 copy
Complete Works, Vol. VII 1 copy
Complete Works, Vol. VI 1 copy
Complete Works, Vol. V 1 copy
Complete Works, Vol. IV 1 copy
Complete Works, Vol. I 1 copy
The Darkling Thrush {poem} 1 copy
Poems: Thomas Hardy 1 copy
Desperate Remedies / A Laodicean/ Two on a Tower / Wessex Tales (The Novels of Thomas Hardy) (1975) 1 copy
Selected Poems. 1 copy
A Thomas Hardy songbook 1 copy
[Works] 1 copy
Far from the Madding Crowd - With Audio Level 5 Oxford Bookworms Library: 1800 Headwords (2014) 1 copy
Scenes from the Dynasts 1 copy
World's most beautiful poetry (new bilingual edition) - Ivy English book series(Chinese Edition) (2006) 1 copy
Literature Connections Sourcebook - Tess of the D'Urbervilles and Related Readings (2-70287) (1997) 1 copy
Complete Works, Vol. XI 1 copy
The Collected Works of Thomas Hardy: The Complete Works PergamonMedia (Highlights of World Literature) (2015) 1 copy
What the Shephard Saw 1 copy
Tess of the D'urbervilles: Classic Novel and Notebook (Chiltern Classic; Chiltern Notebook) (2020) 1 copy
Complete Works, Vol. X 1 copy
Far From the Madding Crowd / The Mayor of Casterbridge / Tess of the d'Urbervilles / Jude the Obscure (2014) 1 copy
Collected Stories 1 copy
Poesie 1 copy
Complete Works, Vol. II 1 copy
The Mayor of Casterbridge, Far From the Madding Crowd, Tess of the D'Urbervilles, Plus Cliffs Notes on Mayor of Casterbridge (1964) 1 copy
LUOLAN SALAISUUS 1 copy
Complete Novels 1 copy
Lesáci 1 copy
Complete Works, Vol. III 1 copy
Associated Works
The Making of a Poem: A Norton Anthology of Poetic Forms (2000) — Contributor — 1,462 copies, 9 reviews
The Best Poems of the English Language: From Chaucer Through Robert Frost (2004) — Contributor — 1,239 copies, 3 reviews
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Contributor, some editions — 1,011 copies, 7 reviews
World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Contributor — 496 copies, 2 reviews
75 Short Masterpieces: Stories from the World's Literature (1961) — Contributor — 315 copies, 2 reviews
The Norton Anthology of English Literature, 4th Edition, Volume 2 (1979) — Contributor — 269 copies, 1 review
Poems Bewitched and Haunted (Everyman's Library Pocket Poets Series) (2005) — Contributor — 231 copies
Vampires, Wine and Roses: Chilling Tales of Immortal Pleasure (1997) — Contributor — 169 copies, 2 reviews
An American Album: One Hundred and Fifty Years of Harper's Magazine (2000) — Contributor — 145 copies, 1 review
Poems to See By: A Comic Artist Interprets Great Poetry (2020) — Contributor — 130 copies, 33 reviews
Answering Back: Living Poets Reply to the Poetry of the Past (2007) — Contributor — 118 copies, 1 review
The Sophisticated Cat: A Gathering of Stories, Poems, and Miscellaneous Writings About Cats (1992) — Contributor — 112 copies, 1 review
Frankenstein Dreams: A Connoisseur's Collection of Victorian Science Fiction (2017) — Contributor — 75 copies, 5 reviews
The Three Strangers (adapted ∙ Oxford bookworms ∙ Stage 3) (2000) — Original author — 34 copies, 11 reviews
The Roads from Bethlehem: Christmas Literature from Writers Ancient and Modern (1993) — Contributor — 34 copies, 1 review
Kingfisher Christmas Book: A Collection of Stories, Poems and Carols for the Twelve Days of Christmas (1985) — Contributor — 29 copies
English Short Stories from the Fifteenth Century to the Twentieth Century; #743 (1921) — Contributor — 29 copies
Out of the Best Books: An Anthology of Literature, Vol. 4: The World Around Us (1968) — Contributor — 28 copies
A Quaint and Curious Volume: Tales and Poems of the Gothic (2019) — Contributor — 20 copies, 1 review
The Third Ghost Story Megapack: 26 Classic Ghost Stories (2013) — Contributor — 19 copies, 2 reviews
The Three Strangers and Other Stories (adapted ∙ Heinemann Guided Readers ∙ Intermediate Level) (1992) 15 copies, 1 review
Creatures of Another Age: Classic Visions of Prehistoric Monsters (2021) — Contributor — 14 copies, 1 review
10 Penguin Classics on 45 CDs (The Mayor of Casterbridge, Pride & Prejudice, Great Expectations, Frankenstein, Jane Eyre, Crime & Punishment, Wuthering Heights, Northanger Abbey,… (2007) — Contributor — 9 copies, 1 review
Edexcel Poetry Anthology for Advanced subsidiary and advanced GCE examinations in English Literature (2000) — Contributor, some editions — 6 copies
Loves and Deaths: Novelists' Tales of the Nineteenth Century from Scott to Hardy (1972) — Contributor — 6 copies
Die englische Literatur 08 in Text und Darstellung. 19. Jahrhundert 2 (1982) — Contributor — 5 copies
Die englische Literatur 09 in Text und Darstellung. 20. Jahrhundert. (2001) — Contributor — 3 copies
Modern Short Stories — Contributor — 2 copies
American Aphrodite: A Quarterly for the Fancy-Free (Volume 4, Number 13) (1954) — Contributor — 2 copies
English short stories of the nineteenth century — Contributor — 1 copy
One hundred best novels condensed: 3 of 4 see note: Adam Bede; Tess of the D'Urbervilles; Don Quixote; East Lynne; Count of Monte Cristo; Paul and Virginia; Tom Brown's School… — Contributor — 1 copy
A Caravan of Music Stories by the World's Great Authors — Contributor — 1 copy
Tagged
Common Knowledge
- Birthdate
- 1840-06-02
- Date of death
- 1928-01-11
- Gender
- male
- Education
- King's College, London
- Occupations
- architect
novelist
poet - Awards and honors
- Order of Merit (1910)
Fellow, Royal Society of Literature - Short biography
- Thomas Hardy (2 June 1840 – 11 January 1928) was an English novelist and poet. A Victorian realist in the tradition of George Eliot, he was influenced both in his novels and in his poetry by Romanticism, including the poetry of William Wordsworth. He was highly critical of much in Victorian society, especially on the declining status of rural people in Britain, such as those from his native South West England.
While Hardy wrote poetry throughout his life and regarded himself primarily as a poet, his first collection was not published until 1898. Initially, he gained fame as the author of novels such as Far from the Madding Crowd (1874), The Mayor of Casterbridge (1886), Tess of the d'Urbervilles (1891), and Jude the Obscure (1895). During his lifetime, Hardy's poetry was acclaimed by younger poets (particularly the Georgians) who viewed him as a mentor. After his death his poems were lauded by Ezra Pound, W. H. Auden and Philip Larkin.
Many of his novels concern tragic characters struggling against their passions and social circumstances, and they are often set in the semi-fictional region of Wessex; initially based on the medieval Anglo-Saxon kingdom, Hardy's Wessex eventually came to include the counties of Dorset, Wiltshire, Somerset, Devon, Hampshire and much of Berkshire, in southwest and south central England. Two of his novels, Tess of the d'Urbervilles and Far from the Madding Crowd, were listed in the top 50 on the BBC's survey The Big Read. - Cause of death
- pleurisy
- Nationality
- UK
- Birthplace
- Higher Bockhampton, Dorsetshire, England, UK
- Places of residence
- Higher Bockhampton, Dorsetshire, England, UK
St. Juliot, Cornwall, England, UK
London, Middlesex, England, UK
Dorchester, Dorset, England, UK - Place of death
- Dorchester, Dorset, England, UK
- Burial location
- Westminster Abbey, London, Middlesex, England, UK
St. Michael's churchyard, Stinsford, Dorset, England, UK (heart) - Map Location
- England, UK
Members
Discussions
November 2025: Thomas Hardy in Monthly Author Reads (December 2025)
THE DEEP ONES: "The Withered Arm" by Thomas Hardy in The Weird Tradition (April 2023)
2013 Quarter 2 - Thomas Hardy in Monthly Author Reads (October 2013)
Just Joined - and my small/humble HP collection... in George Macy devotees (September 2012)
Jude the Obscure: Parts 4-6 in Group Reads - Literature (July 2011)
Jude the Obscure: Parts 1-3 in Group Reads - Literature (July 2011)
Reviews
I've seen a few adaptions but I finally sat down and read the actual book and it is amazing. I've been reading a bunch of Hardy lately and I am so struck by how well he writes women characters. They have so much agency, even though they are imbeded in the system that was already past in the time Hardy was writing. It was a hard read, knowing that it was just getting worse and worse for Tess no matter what. But of all the men who mess her over, I think I am most angry about her useless show more father. If he could possibly act like a reasonably responsible adult even a small percentage of the time, the compounding tragedies would have no starting point. What a brilliant book. show less
Rereading this classic has reminds me that no matter how timeless, it is always worth keeping in mind that every book is written in a particular time and place by someone with his or her own concerns and prejudices. Regardless how we might read (or interpret) a book today, its author composed it in circumstances and an environment that no longer exist—no matter how recent it is. So reading a book composed in England in the 1890s by a man with Hardy’s background suggests that we invest at show more least a bit of time and effort to appreciate the circumstances of its composition. Jude the Obscure was Hardy’s last novel, some have theorized, because of its often hostile reception (one very clever fellow called it Jude the Obscene). Hardy challenged received norms of sexuality, shocking many; he also criticized the fundamental pillars of society: marriage, the church, and the educational system (in part as a proxy for his criticism of class distinctions). Though the novel’s treatment of those issues can seem almost quaint today, it is critical to remember the world in which the book appeared.
Jude Fawley is an orphan with neither money, connections, nor education. He is determined to make something of himself and the novel follows his struggles, both personal and religious. He spends years studying the classics with extraordinary self-discipline, preparing himself for a university or church career, neither of which will come to pass because the institutions of English society—marriage, the church, and the educational system—are rigged against him. We witness his relationships with two women, his ideas and his ideals, his successes and, the true subject of the novel, his failures.
Thomas Hardy considered himself primarily a poet and his poetry has been quite influential, greatly praised by some critics like Pound, Auden, and Larkin. His poetic sensibility contributes to his diction (word choice), his rhythms, and his ability to evoke a mood and a place.
Hardy’s novels are known for their bleak outlook and Jude is no exception; the novel is relentlessly, depressingly bleak. This can be seen in how the characters speak, but more often in their thoughts. Hardy had an acute understanding of how people talk. He is careful to show how what they say (or choose not to say) follows their thoughts and he often explores those thoughts in detail. His observations seem unerring to me; I frequently found myself impressed by his examination of how someone’s past together with that character’s understandings and hopes combined to determine what they said. Speech really matters with Hardy: what it said, when it is said, whether anything is even said at all. Hardy is especially attentive to passing moments, particularly to gestures. He tells us how one person looks at—or away from—another, for how long, with what expression. If E.M. Forster’s motto was “only connect,” Hardy’s might well be how or even whether to connect. He uses silence to telling effect. Whatever else you may think of Hardy, it is impossible to read him without gaining a deep understanding of his characters.
All that said, I should add that there are times when the writing seems a bit awkward; for all his talent, Hardy is not a brilliant stylist. His genius lies elsewhere. Many of his usages are regional, not standard, English. And so Hardy’s English is notably different from that of his peers (such as Stevenson, Butler, or Kipling, all of whom wrote in a far more uncomplicated style). Hardy also has a stylistic tic that troubled me: characters converse in simple language reflecting their social and economic status but from time to time, Hardy, speaking as the narrator, uses pretentious words (pointedly polysyllabic and often invented) that seem out of place. In such instances, it seemed as if Hardy was using the showy, almost pompous, words to demonstrate his own learning. At other times, the narrator’s language is in a decidedly different register from that spoken by the characters. (I am using “register” here to refer to both the word choice and syntax which reflect someone’s social class.) For such different registers to be constantly woven together can be jarring.
Another reflection of these distinct worlds appears in the physical structuring of the novel. Hardy broke up each of his major novels in different ways. Sometimes he used numbered chapters, sometimes chapters with names, and sometimes no chapters at all. Jude is the only novel in which he prefaced each major section with epigraphs. These quotations Hardy drew from Esdras, Swinburne, Ovid (in untranslated Latin), Sappho (English), Milton, Antoninus (English), the Book of Esther, and Robert Browning. In addition, the book contains numerous quotations from poets who were contemporaries of Hardy’s (sometimes named, usually not), the Bible, as well as many classical authors (usually in untranslated Latin or even Greek) and even philosophers and artists (especially of the Renaissance). Is Hardy highlighting Jude’s failed ambitions by routinely quoting from canonical works that underpinned the worlds Jude would never enter…or is he doing so for another reason entirely?
It has been too many years since I first read his novels so I am reluctant to say much more but I do suspect that, with the possible exception of Tess, this may be his best novel. (It may be worth adding that Jude impressed me so much that I did something I very rarely do: pick up another book by the same author—Tess in this case—right away.) I have long thought Hardy an underappreciated master. This re-reading confirms my opinion. show less
Jude Fawley is an orphan with neither money, connections, nor education. He is determined to make something of himself and the novel follows his struggles, both personal and religious. He spends years studying the classics with extraordinary self-discipline, preparing himself for a university or church career, neither of which will come to pass because the institutions of English society—marriage, the church, and the educational system—are rigged against him. We witness his relationships with two women, his ideas and his ideals, his successes and, the true subject of the novel, his failures.
Thomas Hardy considered himself primarily a poet and his poetry has been quite influential, greatly praised by some critics like Pound, Auden, and Larkin. His poetic sensibility contributes to his diction (word choice), his rhythms, and his ability to evoke a mood and a place.
Hardy’s novels are known for their bleak outlook and Jude is no exception; the novel is relentlessly, depressingly bleak. This can be seen in how the characters speak, but more often in their thoughts. Hardy had an acute understanding of how people talk. He is careful to show how what they say (or choose not to say) follows their thoughts and he often explores those thoughts in detail. His observations seem unerring to me; I frequently found myself impressed by his examination of how someone’s past together with that character’s understandings and hopes combined to determine what they said. Speech really matters with Hardy: what it said, when it is said, whether anything is even said at all. Hardy is especially attentive to passing moments, particularly to gestures. He tells us how one person looks at—or away from—another, for how long, with what expression. If E.M. Forster’s motto was “only connect,” Hardy’s might well be how or even whether to connect. He uses silence to telling effect. Whatever else you may think of Hardy, it is impossible to read him without gaining a deep understanding of his characters.
All that said, I should add that there are times when the writing seems a bit awkward; for all his talent, Hardy is not a brilliant stylist. His genius lies elsewhere. Many of his usages are regional, not standard, English. And so Hardy’s English is notably different from that of his peers (such as Stevenson, Butler, or Kipling, all of whom wrote in a far more uncomplicated style). Hardy also has a stylistic tic that troubled me: characters converse in simple language reflecting their social and economic status but from time to time, Hardy, speaking as the narrator, uses pretentious words (pointedly polysyllabic and often invented) that seem out of place. In such instances, it seemed as if Hardy was using the showy, almost pompous, words to demonstrate his own learning. At other times, the narrator’s language is in a decidedly different register from that spoken by the characters. (I am using “register” here to refer to both the word choice and syntax which reflect someone’s social class.) For such different registers to be constantly woven together can be jarring.
Another reflection of these distinct worlds appears in the physical structuring of the novel. Hardy broke up each of his major novels in different ways. Sometimes he used numbered chapters, sometimes chapters with names, and sometimes no chapters at all. Jude is the only novel in which he prefaced each major section with epigraphs. These quotations Hardy drew from Esdras, Swinburne, Ovid (in untranslated Latin), Sappho (English), Milton, Antoninus (English), the Book of Esther, and Robert Browning. In addition, the book contains numerous quotations from poets who were contemporaries of Hardy’s (sometimes named, usually not), the Bible, as well as many classical authors (usually in untranslated Latin or even Greek) and even philosophers and artists (especially of the Renaissance). Is Hardy highlighting Jude’s failed ambitions by routinely quoting from canonical works that underpinned the worlds Jude would never enter…or is he doing so for another reason entirely?
It has been too many years since I first read his novels so I am reluctant to say much more but I do suspect that, with the possible exception of Tess, this may be his best novel. (It may be worth adding that Jude impressed me so much that I did something I very rarely do: pick up another book by the same author—Tess in this case—right away.) I have long thought Hardy an underappreciated master. This re-reading confirms my opinion. show less
Tess of the D'Urbervilles is the kind of book that makes you wish you were back in one of your Brit Lit classes debating it with equally enthusiastic classmates. An erudite novel replete with Biblical, mythological and cultural references left as clues for the close reader to interpret in Thomas Hardy's exploration of whether we are defined by our actions or our intentions.
Hardy's eponymous heroine is a sixteen-year-old country girl at the story's outset, just removed from school and under show more the guidance of her uneducated parents who have recently discovered their noble ancestry. At their behest, she travels to the nearby estate of a wealthy relative to seek employment and a financially beneficial match. Unfortunately, the supposed relatives have in fact appropriated the family name, rather than being born into it, and the naive Tess is set upon and disgraced by the scoundrel son, Alec. Her self-assessed punishment is to run away from family and friends, working in anonymity as milkmaid on a faraway farm.
The remainder of Tess's story is a disheartening reminder that one's past cannot be left behind. She finds love, only to be scorned by a hypocritical husband guilty of her same crime (absent an out of wedlock birth). Her shiftless parents burden her for money in their ignorance regarding her impoverished life. Worst of all, she suffers the renewed advances of the irredeemable Alec.
Tess of the D'Urbervilles is a critical analysis of late 18th century England morals and manners with a healthy dose of Ecclesiastical philosophy thrown in: the repetitive nature of Tess's sad life is mere proof that there is nothing new under the sun. show less
Hardy's eponymous heroine is a sixteen-year-old country girl at the story's outset, just removed from school and under show more the guidance of her uneducated parents who have recently discovered their noble ancestry. At their behest, she travels to the nearby estate of a wealthy relative to seek employment and a financially beneficial match. Unfortunately, the supposed relatives have in fact appropriated the family name, rather than being born into it, and the naive Tess is set upon and disgraced by the scoundrel son, Alec. Her self-assessed punishment is to run away from family and friends, working in anonymity as milkmaid on a faraway farm.
The remainder of Tess's story is a disheartening reminder that one's past cannot be left behind. She finds love, only to be scorned by a hypocritical husband guilty of her same crime (absent an out of wedlock birth). Her shiftless parents burden her for money in their ignorance regarding her impoverished life. Worst of all, she suffers the renewed advances of the irredeemable Alec.
Tess of the D'Urbervilles is a critical analysis of late 18th century England morals and manners with a healthy dose of Ecclesiastical philosophy thrown in: the repetitive nature of Tess's sad life is mere proof that there is nothing new under the sun. show less
The hand of Ethelberta is a fairly early Hardy novel, which appeared two years after Far from the madding crowd. He classed it as one of his "novels of ingenuity" and as a "comedy in chapters", both of which give a strong hint that we're not in the world of grim, arbitrary rural tragedy that readers of Tess or Jude might expect from a Hardy novel. But neither are we in the bucolic world of Under the greenwood tree - this is a social comedy of ambition and class-differences, very much part of show more the modern world of 1870s Britain (almost in HG Wells country), even if the plot sometimes seems to owe more than a little to Moll Flanders...
Ethelberta is a clever, enterprising, young woman from a working-class background who has risen in the world by a series of accidents that would easily fill a three-volume novel in themselves, but which Hardy summarizes in a couple of paragraphs on the opening page. Unfortunately, she has acquired social standing without very much money to back it up, so she has to use all her ingenuity to earn enough to support her many siblings. She finds a niche for herself as a professional story-teller, but the novelty value of this is clearly going to be short-lived, so it's a case of maximising the opportunities her various suitors present. If possible, without hurting that very nice young musician who will never have enough money to marry her.
The plot frequently requires the complex mechanisms of French farce (not Hardy's greatest skill as a novelist) and at a couple of points drifts into a parody of bad-baronet-style melodrama so good that it's hard to realise that it is meant to be funny. Which probably explains why this isn't one of Hardy's better-known books. But what does make it interesting is his careful analysis of the pain and misunderstanding that can be caused by the rigidity of a framework for social relations based on the assumption that a person's "class" is immanent and invariable, whilst in reality, late-Victorian society provided more opportunities than ever before for people to move up and down the social ladder.
The key scene in the book is a dinner-party where the Doncastles have invited Ethelberta to meet Lord Mountclere, without being aware that Ethelberta is actually the daughter of their tactful and efficient butler. Hardy resists the temptation to produce a big revelation here, but allows us to appreciate the pain that father and daughter must both be feeling as she sits there whilst he pours her wine and neither of them can afford to give any acknowledgement of their relationship. And, of course, to make his middle-class readers pause for a moment and wonder if it's possible that some of their own servants might be human beings with private joys and sorrows...
Reading this directly after Trollope made me realise what a wonderfully three-dimensional view of society Hardy has. He's a writer who can't describe the presence of a jug of milk on a table without wondering about all the people who were involved in getting it there, and in many cases telling us something about them as individuals.
The landscape is always important in Hardy as well, of course - in this case much of the action takes place around Swanage, Corfe Castle and Bournemouth, and it always feels as though you'd have little difficulty following the journeys by land and sea he describes, if you could only find an 1870s map. show less
Ethelberta is a clever, enterprising, young woman from a working-class background who has risen in the world by a series of accidents that would easily fill a three-volume novel in themselves, but which Hardy summarizes in a couple of paragraphs on the opening page. Unfortunately, she has acquired social standing without very much money to back it up, so she has to use all her ingenuity to earn enough to support her many siblings. She finds a niche for herself as a professional story-teller, but the novelty value of this is clearly going to be short-lived, so it's a case of maximising the opportunities her various suitors present. If possible, without hurting that very nice young musician who will never have enough money to marry her.
The plot frequently requires the complex mechanisms of French farce (not Hardy's greatest skill as a novelist) and at a couple of points drifts into a parody of bad-baronet-style melodrama so good that it's hard to realise that it is meant to be funny. Which probably explains why this isn't one of Hardy's better-known books. But what does make it interesting is his careful analysis of the pain and misunderstanding that can be caused by the rigidity of a framework for social relations based on the assumption that a person's "class" is immanent and invariable, whilst in reality, late-Victorian society provided more opportunities than ever before for people to move up and down the social ladder.
The key scene in the book is a dinner-party where the Doncastles have invited Ethelberta to meet Lord Mountclere, without being aware that Ethelberta is actually the daughter of their tactful and efficient butler. Hardy resists the temptation to produce a big revelation here, but allows us to appreciate the pain that father and daughter must both be feeling as she sits there whilst he pours her wine and neither of them can afford to give any acknowledgement of their relationship. And, of course, to make his middle-class readers pause for a moment and wonder if it's possible that some of their own servants might be human beings with private joys and sorrows...
Reading this directly after Trollope made me realise what a wonderfully three-dimensional view of society Hardy has. He's a writer who can't describe the presence of a jug of milk on a table without wondering about all the people who were involved in getting it there, and in many cases telling us something about them as individuals.
The landscape is always important in Hardy as well, of course - in this case much of the action takes place around Swanage, Corfe Castle and Bournemouth, and it always feels as though you'd have little difficulty following the journeys by land and sea he describes, if you could only find an 1870s map. show less
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