Light on Hardy
ELIZABETH JENNINGS
Any writing by a great artist is of interest. This, surely, goes without saying. That smallest footnote, the most minute annotation are not only of interest but of intense fascination. Furthermore, small notes and odd references have a kind of uniqueness and authority which are lacking in the finished work of art. In Hardy: Personal Writings, Professor Orel has gathered together much hitherto unpublished work.
Hardy's prefaces to his novels are repre- sented here. And the book also contains reminiscences and literary opinions. One knew that Hardy was a prolific novelist and poet, but not that he indulged in so much miscel- laneous writing. Professor Orel has gone about his work in a businesslike and useful way. He declares: 'I have not included any of the un-
collected 'fiction or poetry that Hardy published during his lifetime . . . and I have not tried to.reproduce the many brief, unimportant items listed in Part III of Professor Purdy's volume Uncollected Contributions to Books, Periodi- cals, and Newspapers . .
Professor Orel finds that quite enough material is left `to make a substantial volume for all readers who want to know more about hardy.' This is certainly true and this volume of such various contents provides much that is fascinating, both to the Hardy addict and to the general reader. It is, I suppose, true that in general we imagine that the very great never blotted a line or changed a word. This belief has died hard and it is only with the contemporary enthusiasm for work-sheets and first drafts that it has really been truly buried. Nevertheless, one had thought that Hardy was one of those natural, non-critical novelists; the reverse proves to be the case.
On his 'own novels, Hardy is usually par- ticularly illuminating. Of Tess, he says, 'The main portion of the following story appeared —with slight modifications—in the Graphic newspaper; other chapters, more especially ad- dressed to adult readers, in the Fortnightly Review and the National Observer, as episodic sketches.' On most of the other novels, Hardy has something interesting to say. It may be asked, 'But what is the purpose of preserving such trivia? Is is worth while?' For my part, I can only add that the publication of such material throws fresh light on Hardy's work as a whole. It also makes him seem closer to us, less remote. Hardy wrote a surprising number of articles and lectures; he was not at all the sort of writer who keeps out of literary affairs. His pieces vary from 'How I Built Myself a House,' The Dorsetshire Labourer' and 'Shall Stonehenge Go?' to 'Memories of Church Restoration.' He took an active part in all that was going on around him, especi- ally in his native Dorset.
The New Critics would have us not be too interested in biographical or other extraneous facts about the authors we happen to be dis- cussing. Myself, I cannot help feeling that such information not only assists in enjoying the writer's work more, but actually makes us understand it better. Certainly, this volume of Hardy's miscellaneous writing gives us many insights into this writer's poems and novels.
Hardy has often been thought to be a gloomy, a melancholic writer. This book, so rich in material, admirably disposes of such a view. It shows us a man eagerly caught up in his own times and highly concerned about all that went on around him. From a study of this book we shall, I believe, return with fresh enthusiasm to the well-known novels and poems.
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