The son of a stonemason, he derived a love of music from his father and a devotion to literature from his mother. Hardy could not afford to pursue a scholarly career as he wished and was apprenticed to John Hicks, a local church architect. He continued, however, to study the Greek and Latin classics. From 1862 to 1867 he served as assistant to Arthur Blomfield, a London architect; ill health forced him to return to Dorset, where he worked for Hicks and his successor until 1874.
Despite his employment, Hardy was writing continually during this period of his life. Such early novels as Desperate Remedies (1871) and A Pair of Blue Eyes (1873) met with small success and may be considered formative works. After the appearance of Far From the Madding Crowd (1874), popular as well as critical acclaim enabled him to devote himself exclusively to writing. His success also made marriage feasible, and in 1874 he married Emma Lavinia Gifford.
Over the next 22 years Hardy wrote many novels, including those he referred to as "romances and fantasies"—most of which were first serialized in popular magazines. His major works are The Return of the Native (1878), The Mayor of Casterbridge (1886), Tess of the D'Urbervilles (1891), and Jude the Obscure (1896), the latter two considered masterpieces.
Hardy's novels are all set against the bleak and forbidding Dorset landscape (referred to as Wessex in the novels), whose physical harshness echoes that of an indifferent, if not malevolent, universe. The author's characters, who are for the most part of the poorer rural classes, are sympathetically and often humorously portrayed. Their lives are ruled not only by nature but also by rigid Victorian social conventions. Hardy's style is accordingly roughhewn, sometimes awkward, but always commanding and intense.
Hardy had always written poetry and regarded the novel as an inferior genre. After Jude the Obscure was attacked on grounds of supposed immorality (it dealt sympathetically with open sexual relations between men and women), he abandoned fiction. However, the compelling reason was probably that his thought had become too abstract to be adequately expressed in novels. Beginning at the age of 58, Hardy published many volumes of poetry, including Wessex Poems (1898), Satires of Circumstance (1914), Moments of Vision (1917), and Winter Words (1928).
His poetry is spare, unadorned, and unromantic, and its pervasive theme is man's futile struggle against cosmic forces. His verse drama The Dynasts (written 1903-8) is a historical epic of the Napoleonic era, expressing the view that history, too, is guided by forces far more powerful than individual will. Hardy's vision reflects a world in which Victorian complacencies were dying but its moralism was not, and in which science had eliminated the comforting certainties of religion.
Hardy's wife died in 1912, and in 1914 he married Florence Emily Dugdale, a children's book writer, some 40 years his junior. He spent the latter half of his life at Max Gate, a house built after his own designs in his native Dorset, and died there. His ashes are interred in Westminster Abbey, but his heart is buried separately, with a certain dark propriety, near the Egdon Heath made famous by his novels.
See E. Hardy and F. B. Pinion, ed., One Rare Fair Woman, his letters to Florence Henniker (1972); M. Millgate, ed., The Collected Letters of Thomas Hardy (1978-1988); biographies by his wife F. E. Hardy (1928 repr. 1971), E. Hardy (1953, repr. 1973), R. Gittings (1975 and 1978), M. Seymour-Smith (1994), M. Millgate (rev. ed. 2004), C. Tomalin (2006), and R. Pite (2007); studies by R. C. Carpenter (1964), C. J. Weber (2d ed. 1965), I. Howe (1967), M. Millgate (1971), J. I. M. Stewart (1971), F. R. Southerington (1971), and M. Williams (1972); studies of his poetry by E. Brennecke (1924, repr. 1973), J. O. Bailey (1971), P. Zietlow (1974), and I. Gregor (1974).
Thomas Hardy, OM (2 June 1840 – 11 January 1928) was an English novelist, short story writer, and poet of the naturalist movement, though he saw himself as a poet and wrote novels mainly for financial gain only. The bulk of his work, set mainly in the semi-fictional land of Wessex, delineates characters struggling against their passions and circumstances. Hardy's poetry, first published in his fifties, has come to be as well regarded as his novels, especially after The Movement of the 1950s and 1960s.
In 1870, while on an architectural mission to restore the parish church of St Juliot in Cornwall, Hardy met and fell in love with Emma Lavinia Gifford, whom he married in 1874. Although he later became estranged from his wife, her death in 1912 had a traumatic effect on him. He made a trip to Cornwall to revisit places linked with their courtship; his Poems 1912-13 explore his grief. In 1914, Hardy married his secretary Florence Dugdale, 40 years his junior, whom he had met in 1905. However, Hardy remained preoccupied with Emma's sudden death, and tried to overcome his remorse by writing poetry.
Hardy fell ill with pleurisy in December 1927 and died in January 1928, having dictated his final poem to his wife on his deathbed. His funeral, on 16 January at Westminster Abbey, proved a controversial occasion: Hardy, his family and friends had wished him to be buried at Stinsford in the same grave as his first wife, Emma. However, his executor, Sir Sydney Carlyle Cockerell, insisted he be placed in the abbey's Poets' Corner. A compromise was reached whereby his heart was buried at Stinsford with Emma, and his ashes in Poets' Corner.
Shortly after Hardy's death, the executors of his estate burnt his letters and notebooks. Twelve records survived, one of them containing notes and extracts of newspaper stories from the 1820s. Research into these provided insight into how Hardy kept track of them and how he used them in his later work.
Hardy's work was admired by many authors, amongst them D. H. Lawrence and Virginia Woolf. The writer Robert Graves, in his autobiography Goodbye to All That, recalls meeting Hardy in Dorset in the early 1920s. Hardy received Graves and his newly married wife warmly, and was encouraging about the younger author's work.
In 1910, Hardy was awarded the Order of Merit.
Hardy’s idea of fate in life gave way to his philosophical struggle with God. Although Hardy’s faith remained intact, the irony and struggles of life led him to question God and His traditional meaning in the Christian sense.
The Christian god – the external personality – has been replaced by the intelligence of the First Cause…the replacement of the old concept of god as all-powerful by a new concept of universal consciousness. The ‘tribal god, man-shaped, fiery-faced and tyrannous’ is replaced by the ‘unconscious will of the Universe’ which progressively grows aware of itself and ‘ultimately, it is to be hoped, sympathetic’.Hardy's religious life seems to have mixed agnosticism and spiritism. Once, when asked in correspondence by a clergyman about the question of reconciling the horrors of pain with the goodness of a loving God, Hardy replied,
Mr. Hardy regrets that he is unable to offer any hypothesis which would reconcile the existence of such evils as Dr. Grosart describes with the idea of omnipotent goodness. Perhaps Dr. Grosart might be helped to a provisional view of the universe by the recently published Life of Darwin, and the works of Herbert Spencer, and other agnostics.
Nevertheless, Hardy frequently conceived of and wrote about supernatural forces that control the universe, more through indifference or caprice than any firm will. Also, Hardy showed in his writing some degree of fascination with ghosts and spirits. Despite these sentiments, Hardy retained a strong emotional attachment to the Christian liturgy and church rituals, particularly as manifested in rural communities, that had been such a formative influence in his early years. Some attributed the bleak outlook of many of his novels as reflecting his view of the absence of God. A sentence found in his Tess of the d'Urbervilles neatly sums up Hardy's philosophical stance:
The inherent will to enjoy and the circumstantial will against enjoymentIn Far From the Madding Crowd, Oak’s entire flock, and livelihood, dies. For Oak, being a simple farmer with nothing to his name, to encounter such a loss is a tragedy wherein Hardy wants his readers to consider the role of God in this type of situation along with the universe’s cruelty. Biblical references can be found woven throughout many of Hardy’s novels as he became friends with a Dorchester minister, Hourace Moule. Moule also influenced Hardy’s point of view by introducing him to scientific studies and ideas that questioned the literal meaning of the Bible. These new ideas, along with Darwinism, and a series of unsettling events in Hardy’s life may be the reason for his pessimistic attitude that is perceived by many critics and readers alike.
Hardy's first novel, The Poor Man and the Lady, finished by 1867, failed to find a publisher and Hardy destroyed the manuscript so only parts of the novel remain. He was encouraged to try again by his mentor and friend, Victorian poet and novelist George Meredith. Desperate Remedies (1871) and Under the Greenwood Tree (1872) were published anonymously. In 1873 A Pair of Blue Eyes, a story drawing on Hardy's courtship of his first wife, was published under his own name.
Hardy said that he first introduced Wessex in Far from the Madding Crowd (1874), his next (and first important) novel. It was successful enough for Hardy to give up architectural work and pursue a literary career. Over the next twenty-five years Hardy produced ten more novels.
The Hardys moved from London to Yeovil and then to Sturminster Newton, where he wrote The Return of the Native (1878). In 1885, they moved for a last time, to Max Gate, a house outside Dorchester designed by Hardy and built by his brother. There he wrote The Mayor of Casterbridge (1886), The Woodlanders (1887) and Tess of the d'Urbervilles (1891), the last of which attracted criticism for its sympathetic portrayal of a "fallen woman" and was initially refused publication. Its subtitle, A Pure Woman: Faithfully Presented, was intended to raise the eyebrows of the Victorian middle-classes.
Jude the Obscure, published in 1895, met with even stronger negative outcries from the Victorian public for its frank treatment of sex, and was often referred to as "Jude the Obscene". Heavily criticised for its apparent attack on the institution of marriage, the book caused further strain on Hardy's already difficult marriage because Emma Hardy was concerned that Jude the Obscure would be read as being autobiographical. Some booksellers sold the novel in brown paper bags, and the Bishop of Wakefield is reputed to have burnt a copy. In his postscript of 1912, Hardy humorously referred to this incident as part of the career of the book: "After these [hostile] verdicts from the press its next misfortune was to be burnt by a bishop - probably in his despair at not being able to burn me".
Despite this criticism, Hardy had become a celebrity in English literature by the 1900s, with several highly successful novels under his belt, yet he felt disgust at the public reception of two of his greatest works and gave up writing novels altogether. Several critics have commented, however, that there was very little left for Hardy to write about, having creatively exhausted the increasingly fatalistic tone of his novels.
Hardy critiques certain social constraints that hindered the lives of those living in the 19th century. Considered a Victorian Realist writer, Hardy examines the social constraints that are part of the Victorian status quo. These rules hinder the lives of all involved and ultimately lead to a life of unhappiness. In Two on a Tower, Hardy seeks to take a stand against these rules and sets up a story against the backdrop of social structure by creating a romantic story of love that crosses the boundaries of class. The reader is forced to consider the option of disposing of the conventions set up for love. 19th century society enforces the conventions and societal pressure ensures conformity. Swithin St Cleeve is idyllic against social constraints. He is a meaningful, unique individual set up against the dictating confinements of the conventions of social structure.
In a novel structured around contrasts, the main opposition is between Swithin St Cleeve and Lady Viviette Constantine, who are presented as binary figures in a series of ways: aristocratic and lower class, youthful and mature, single and married, fair and dark, religious and agnostic…she [Lady Viviette Constantine] is also deeply conventional, absurdly wishing to conceal their marriage until Swithin has achieved social status through his scientific work, which gives rise to uncontrolled ironies and tragic-comic misunderstandings (Harvey 108).
Hardy’s stories take into consideration the events of life and their effects. Fate plays a big role as the thematic basis for many of his novels. Characters are constantly encountering crossroads, which are symbolic of a point of opportunity and transition. Far From the Madding Crowd tells a tale of lives that are constructed by chance. “Had Bathsheba not sent the valentine, had Fanny not missed her wedding, for example, the story would have taken an entirely different path.” Once things have been put into motion, they will play out. Hardy’s characters are in the grips of too much overwhelming fate.
He paints a vivid picture of rural life in the nineteenth century, with all its joys and suffering, a fatalistic world full of superstition and injustice. His heroes and heroines are often alienated from society and rarely become readmitted into it. He tends to emphasise the impersonal and, generally, negative powers of fate over the mainly working class people he represented in his novels. Hardy exhibits in his books elemental passion, deep instinct, the human will struggling against fatal and ill-comprehended laws, a victim also of unforeseeable change. Tess, for example, ends with some of the most poignant lines in British Literature on this theme:
Justice was done, and the President of the Immortals, in Æschylean phrase, had ended his sport with Tess. And the d'Urberville knights and dames slept on in their tombs unknowing. The two speechless gazers bent themselves down to the earth, as if in prayer, and remained thus a long time, absolutely motionless: the flag continued to wave silently. As soon as they had strength they arose, joined hands again, and went on.
In particular, Hardy's novel Jude the Obscure is full of the sense of crisis of the later Victorian period (as witnessed in Matthew Arnold's 'Dover Beach'). It describes the tragedy of two new social types, Jude Fawley, a working man who attempts to educate himself, and his lover and cousin, Sue Bridehead, who represents the 'new woman' of the 1890s.
His mastery, as both an author and poet, lies in the creation of natural surroundings making discoveries through close observation and acute sensitiveness. He notices the smallest and most delicate details, yet he can also paint vast landscapes of his own Wessex in melancholy or noble moods. (His eye for poignant detail - such as the spreading bloodstain on the ceiling at the end of Tess of the d'Urbervilles and little Jude's suicide note - often came from clippings from newspaper reports of real events).
In 1898 Hardy published his first volume of poetry, Wessex Poems, a collection of poems written over 30 years. Hardy claimed poetry as his first love, and published collections until his death in 1928. Although not as well received by his contemporaries as his novels, Hardy's poetry has been applauded considerably in recent years, in part because of the influence on Philip Larkin. However, critically it is still not regarded as highly as his prose.
Most of his poems deal with themes of disappointment in love and life, and mankind's long struggle against indifference to human suffering. Some, like The Darkling Thrush and An August Midnight, appear as poems about writing poetry, because the nature mentioned in them gives Hardy the inspiration to write those. A vein of regret tinges his often seemingly banal themes. His compositions range in style from the three-volume epic closet drama The Dynasts to smaller, and often hopeful or even cheerful ballads of the moment such as the little-known The Children and Sir Nameless, a comic poem inspired by the tombs of the Martyns, builders of Athelhampton.
A few of Hardy's poems, such as The Blinded Bird (a melancholy polemic against the sport of vinkenzetting), display his love of the natural world and his firm stance against animal cruelty, exhibited in his antivivisectionist views and his membership in the RSPCA.
Composers who have set Hardy's text to music include Gerald Finzi, who produced six song-cycles for poems by Hardy, Benjamin Britten, who based his song-cycle Winter Words on Hardy's poetry, Ralph Vaughan Williams and Gustav Holst. Holst also based one of his last orchestral works, Egdon Heath, on Hardy's work. It is said to be Holst's masterpiece. Composer Lee Hoiby's setting of "The Darkling Thrush" became the basis of the multimedia opera Darkling and Timothy Takach, a graduate of St. Olaf, has also put "The Darkling Thrush" into arrangement for a 4-part mixed choir.
Hardy divided his novels and collected short stories into three classes:
Novels of Character and Environment
Romances and Fantasies
Novels of Ingenuity
Hardy also produced a number of minor tales and a collaborative novel, The Spectre of the Real (1894). An additional short-story collection, beyond the ones mentioned above, is A Changed Man and Other Tales (1913). His works have been collected as the 24-volume Wessex Edition (1912-1913) and the 37-volume Mellstock Edition (1919-1920). His largely self-written biography appears under his second wife's name in two volumes from 1928-1930, as The Early Life of Thomas Hardy, 1840-1891 and The Later Years of Thomas Hardy, 1892-1928, now published in a critical one-volume edition as The Life and Work of Thomas Hardy, edited by Michael Millgate (1984).
Poetry (not a comprehensive list)
Bere Regis is King's-Bere of Tess, Bincombe Down cross roads is the scene of the military execution in A Melancholy Hussar. It is a true story, the deserters from the German Legion were shot in 1801 and are recorded in the parish register. Bindon Abbey is where Clare carried her. Bournemouth is Sandbourne of Hand of Ethelberta and Tess of the d'Urbervilles, Bridport is Port Bredy, Charborough House and its folly tower at is the model for Welland House in the novel Two on a Tower. Corfe Castle is the Corvsgate-Castle of Hand of Ethelberta. Cranborne Chase is The Chase scene of Tess's seduction. (Note - Bowerchalke on Cranborne Chase at was the film location for the great fire in John Schlesinger's 1967 film Far from the Madding Crowd.) Milborne St Andrew is "Millpond St Judes" in Far From the Madding Crowd. Weatherby Castle is the location for the "Tower" in "Two on a Tower" with Little England Cottage, Milborne St Andrew being the location of Swithin St Cleeves home and remains as described to this day Dorchester, Dorset is Casterbridge, the scene of Mayor of Casterbridge. Dunster Castle in Somerset is Castle De Stancy of A Laodicean. Fordington moor is Durnover moor and fields. Greenhill Fair near Bere Regis is Woodbury Hill Fair, Lulworth Cove is Lulstead Cove, Marnhull is Marlott of Tess of the D'Urbervilles, Melbury House near Evershot is Great Hintock Court in A Group of Noble Dames. Minterne is Little Hintock, Owermoigne is Nether Moynton in Wessex Tales.
Piddlehinton and Piddle Trenthide are the Longpuddle of A Few Crusted Characters. Puddletown Heath, Moreton Heath, Tincleton Heath and Bere Heath are Egdon Heath. Poole is Havenpool in Life's Little Ironies. Portland is the scene of The Pursuit of the Well-Beloved. Puddletown is Weatherbury in Far from the Madding Crowd, River Frome valley is the scene of Talbothays dairy in Tess. Salisbury is Melchester in On the Western Circuit, Life's Little Ironies and Jude the Obscure etc. Shaftesbury is Shaston in Tess of the d'Urbervilles and Jude the Obscure. Sherborne is Sherton-Abbas, Sherborne Castle is home of Lady Baxby in A Group of Noble Dames. Stonehenge is the scene of Tess's apprehension. Sutton Poyntz is Overcombe. Swanage is the Knollsea of Hand of Ethelberta. Taunton is known as Toneborough in both Hardy's novels and poems (see http://www.wessex.me.uk/taunton.html). Wantage is Alfredston, of Jude the Obscure. Fawley, Berkshire is Marygreen of Jude the Obscure. Weyhill is Weydon Priors, Weymouth is Budmouth Regis, the scene of Trumpet Major & portions of other novels; Winchester is Wintoncester where Tess was executed. Wimborne is Warborne of Two on a Tower. Wolfeton House, near Dorchester is the scene of The Lady Penelope in a Group of Noble Dames. Woolbridge old Manor House, close to Wool station, is the scene of Tess's confession and honeymoon.
Hardy provides the springboard for D. H. Lawrence's Study of Thomas Hardy (1936). Though this work became a platform for Lawrence's own developing philosophy rather than a more standard literary study, the influence of Hardy's treatment of character and Lawrence's own response to the central metaphysic behind many of Hardy's novels helped significantly in the development of The Rainbow (1915, suppressed) and Women in Love (1920, private publication). Hardy was clearly the starting point for the character of the novelist Edward Driffield in W Somerset Maugham's novel Cakes and Ale. Thomas Hardy's works feature prominently in the narrative in Christopher Durang's The Marriage of Bette and Boo, in which a graduate thesis analysing Tess of the d'Urbervilles is interspersed with analysis of Matt's family's neuroses.