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Included in this edition are ten stories which were never collected into volumes during Hardy's lifetime. Some contain references to actual people, or plot elements that he reused elsewhere, and others, such as his stories for children, were simply too different from his other work in the short story form. Although all of these stories occupy significant positions within Hardy's career, none has previously received serious editorial treatment. For the most part they have been ignored, lightly passed over, or misinterpreted by critics and biographers. This edition remedies some of the deficiencies in Hardy scholarship, both in its historical introductions and in its critically edited texts, which are based on full collations of all editions published before Hardy's death and all surviving manuscripts, typescripts, and previously neglected proofs.
While exploring a cave, two boys divert the course of a stream and set off a strange chain of events.
In Thomas Hardy Reappraised, editor Keith Wilson pays tribute to Millgate's many contributions to Hardy studies by bringing together new work by fifteen of the world's most eminent Hardy scholars.
'An Indiscretion in the Life of a Heiress', is one of ten stories - three collaborative, all uncollected - that are brought together in this volume. 'Indiscretion', derived from Hardy's unpublished first novel The Poor Man and the Lady, represents one of his earliest confrontations with theclass and gender issues which were to remain central to his fiction throughout his life. Several of the other stories, notably 'Destiny and a Blue Cloak', 'The Spectre of the Real', and 'The Unconquerable', raise similar questions, while at the same time illustrating, in typical Hardyan fashion,life's little (or somewhat larger) ironies. Some of the other stories are less characteristic: 'Old Mrs Chuncle', for example, approximates moral fable more closely than is usual for Hardy, while 'Our Exploits at West Poley' is anomalous not only in being (like 'The Thieves Who Couldn't Help Sneezing') a story written for children but alsoin experimenting with unreliable narration. Such stories are signifcant precisley because they incoporate varieties of technique, subject matter, and genre that are otherwise found in the Hardy canon either rarely or not at all.
Students and film scholars will appreciate this unique volume.
"Great authors" are increasingly being encountered by general audiences and critics thanks to films and television programs that have been adapted from their best-known works. Thomas Hardy is one of those authors. His work has inspired filmmakers from the silent age and modern times. This book is the first book-length study in what has become a growing field of interest in film adaptations of Hardy's novels. Part One of this book analyzes the popular image of Hardy and his work, the reproduction of this image in film adaptations, and critical stereotypes about him and his fiction. Part Two juxtaposes Hardy's Far from the Madding Crowd and Schlesinger's adaptation, Hardy's Tess of the d'Urbervilles and Polanski's adaptation, and Hardy's Jude the Obscure and Winterbottom's adaptation. Each discussion of the novel and adaptation in question considers the novel itself, the critical history of the novel, how it has been adapted to film, and how the individual filmmakers have struggled with problems inherent in Hardy's novels. Part Three analyzes adaptations of The Woodlanders, The Scarlet Tunic, and The Claim, all of which have scarcely been seen in the United States or which were not distributed in the United States, and four television movies and miniseries that were based on Hardy's work.
What role do novels, drama, and tragedy play within Christian thought and living? The twentieth century Catholic theologian Hans Urs von Balthasar addressed these questions using tragic drama. For him, Christ was the true tragic hero of the world who exceeded all tragic literature and experience. Balthasar demonstrated how ancient, pre-Christian tragedy and Renaissance works contained important Christian concepts, but he critiqued modern novels as failing to be either truly tragic or Christian. By examining the tragic novels of Thomas Hardy on their own terms, we have an important counterpoint to Balthasar's argument that the novel is too prosaic for theological reflection. Hardy's novels are an apt pairing for examination and critique, as they are both classically and biblically influenced, as well as contemporary.The larger implication for Balthasar's theology is that his innovations in theological aesthetics and tragedy must be expanded in the light of modernity and the tragic novel.
First published in 1940 and revised in 1965, this work by the distinguished Hardy Scholar, Carl J. Weber, traces Hardy’s literary career from High Brockhampton to the grave in Poet’s corner, Westminster Abbey. Using a multitude of letters, it explains why Thomas Hardy wrote, and how his books grew from ideas, emotions and experiences to the printed volumes that have delighted the world. This book will be of interest to those studying the works of Thomas Hardy and 19th century literature.