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Hence should anything of this sort in the following adumbrations seem “queer”—should any of them seem to good Panglossians to embody strange and disrespectful conceptions of this best of all possible worlds, I apologize; but cannot help it.

November 26, 2009

N.B. Thomas Hardy often wrote prefaces—at times, wonderful documents—for his books of verse. But none, in my view, or in the view of most other devoted readers of his poetry, rivals the one reprinted here, which is by turns cagey; deftly unapologetic (though “Apology” it be called); satirical; and perfectly in temper with the poetry that this book, like all of Hardy’s later books of poetry, contains. Hardy surveys, along the way, and in relatively short order, the history of English poetry at least since the earliest Romantics; and he offers up, with a concision altogether admirable, a summary of certain philosophical developments, from Schopenhauer to Darwin and beyond to Einstein, that English poetry had yet—except in Hardy’s own case—to take fully into account.  The preface appeared first in Hardy’s 1922 volume Late Lyrics and Earlier with Many Other Verses. I reprint it whole, here, in the spirit in which I began this web-blog two months ago: as a commonplace book, a definition of which you will find at the top right margin of  The Era of Casual Fridays.

Thomas Hardy, “evolutionary meliorist.”

APOLOGY

About half the verses that follow were written quite lately.  The rest are older, having been held over in MS. when past volumes were published, on considering that these would contain a sufficient number of pages to offer readers at one time, more especially during the distractions of the war. The unusually far back poems to be found here are, however, but some that were overlooked in gathering previous collections. A freshness in them, now unattainable, seemed to make up for their inexperience and to justify their inclusion. A few are dated; the dates of others are not discoverable.

The launching of a volume of this kind in neo-Georgian days by one who began writing in mid-Victorian, and has published nothing to speak of for some years, may seem to call for a few words of excuse or explanation. Whether or no, readers may feel assured that a new book is submitted to them with great hesitation at so belated a date. Insistent practical reasons, however, among which were requests from some illustrious men of letters who are in sympathy with my productions, the accident that several of the poems have already seen the light, and that dozens of them have been lying about for years, compelled the course adopted, in spite of the natural disinclination of a writer whose works have been so frequently regarded askance by a pragmatic section here and there, to draw attention to them once more.

I do not know that it is necessary to say much on the contents of the book, even in deference to suggestions that will be mentioned presently.  I believe that those readers who care for my poems at all—readers to whom no passport is required—will care for this new installment of them, perhaps the last, as much as for any that have preceded them.

William Wordsworth, depicted in an unbearably Romantic mood/mode; painter unknown (at least to me).

Moreover, in the eyes of a less friendly class the pieces, though a very mixed collection indeed, contain, so far as I am able to see, little or nothing in technique or teaching that can be considered a Star-Chamber matter, or so much as agitating to a ladies’ school; even though, to use Wordsworth’s observation in his “Preface” to Lyrical Ballads, such readers may suppose “that by the act of writing in verse an author makes a formal engagement that he will gratify certain known habits of association: that he not only thus apprises the reader that certain classes of ideas and expressions will be found in his book, but that others will be carefully excluded.” It is true, nevertheless, that some grave, positive, stark, delineations are interspersed among those of the passive, lighter, and traditional sort presumably nearer to stereotyped tastes. For—while I am quite aware that a thinker is not expected, and, indeed, is scarcely allowed, now more than heretofore, to state all that crosses his mind concerning existence in this universe, in his attempts to explain or excuse the presence of evil and the incongruity of penalizing the irresponsible—it must be obvious to open intelligences that, without denying the beauty and faithful service of certain venerable cults, such disallowance of “obstinate questionings” and “blank misgivings” tends to a paralysed intellectual stalemate. Heine observed nearly a hundred years ago that the soul has her eternal rights; that she will not be darkened by statutes, nor lullabied by the music of bells. And what is to-day, in allusions to the present author’s pages, alleged to be “pessimism” is, in truth, only such “questionings” in the exploration of reality, and is the first step towards the soul’s betterment, and the body’s also.

If I may be forgiven for quoting my own old words, let me repeat what I printed in this relation more than twenty years ago, and wrote much earlier, in a poem entitled “In Tenebris”:

If way to the Better there be, it exacts a full look at the Worst:

that is to say, by the exploration of reality, and its frank recognition stage by stage along the survey, with an eye to the best consummation possible: briefly, evolutionary meliorism. But it is called pessimism nevertheless; under which word, expressed with condemnatory emphasis, it is regarded by many as some pernicious new thing (though so old as to underlie the Christian idea, and even to permeate the Greek drama); and the subject is charitably left to decent silence, as if further comment were needless.

Happily there are some who feel such Levitical passing-by to be, alas, by no means a permanent dismissal of the matter; that comment on where the world stands is very much the reverse of needless in these disordered years of our prematurely afflicted century: that amendment and not madness lies that way. And looking down the future these few hold fast to the same: that whether the human and kindred animal races survive till the exhaustion or destruction of the globe, or whether these races perish and are succeeded by others before that conclusion comes, pain to all upon it, tongued or dumb, shall be kept down to a minimum by loving-kindness, operating through scientific knowledge, and actuated by the modicum of free will conjecturally possessed by organic life when the mighty necessitating forces—unconscious or other—that have “the balancings of the clouds,” happen to be in equilibrium, which may or may not be often.

Frederic Harrison, English jurist, historian, and a “positivist” follower of Comte (in his philosophy)

To conclude this question I may add that the argument of the so-called optimists is neatly summarized in a stern pronouncement against me by my friend Mr. Frederic Harrison in a late essay of his, in the words: “This view of life is not mine.” The solemn declaration does not seem to me to be so annihilating to the said “view” (really a series of fugitive impressions which I have never tried to co-ordinate) as is complacently assumed. Surely it embodies a too human fallacy quite familiar in logic. Next, a knowing reviewer, apparently a Roman Catholic young man, speaks, with some rather gross instances of the suggestio falsi in his article, of “Mr. Hardy refusing consolation,” the “dark gravity of his ideas,” and so on. When a Positivist and a Catholic agree there must be something wonderful in it, which should make a poet sit up. But . . . O that ‘twere possible!

Matthew Arnold

I would not have alluded in this place or anywhere else to such casual personal criticisms—for casual and unreflecting they must be—but for the satisfaction of two or three friends in whose opinion a short answer was deemed desirable, on account of the continual repetition of these criticisms, or more precisely, quizzings. After all, the serious and truly literary inquiry in this connection is: Should a shaper of such stuff as dreams are made on disregard considerations of what is customary and expected, and apply himself to the real function of poetry, the application of ideas to life (in Matthew Arnold’s familiar phrase)? This bears more particularly on what has been called the “philosophy” of these poems—usually reproved as “queer.” Whoever the author may be that undertakes such application of ideas in this “philosophic” direction—where it is specially required—glacial judgments must inevitably fall upon him amid opinion whose arbiters largely decry individuality, to whom ideas are oddities to smile at, who are moved by a yearning the reverse of that of the Athenian inquirers on Mars Hill; and stiffen their features not only at sound of a new thing, but at a restatement of old things in new terms. Hence should anything of this sort in the following adumbrations seem “queer”—should any of them seem to good Panglossians to embody strange and disrespectful conceptions of this best of all possible worlds, I apologize; but cannot help it.

Such divergences, which, though piquant for the nonce, it would be affectation to say are not saddening and discouraging likewise, may, to be sure, arise sometimes from superficial aspect only, writer and reader seeing the same thing at different angles. But in palpable cases of divergence they arise, as already said, whenever a serious effort is made towards that which the authority I have cited – who would now be called old-fashioned, possibly even parochial – affirmed to be what no good critic could deny as the poet’s province, the application of ideas to life. One might shrewdly guess, by the by, that in such recommendation the famous writer may have overlooked the cold-shouldering results upon an enthusiastic disciple that would be pretty certain to follow his putting the high aim in practice, and have forgotten the disconcerting experience of Gil Blas with the Archbishop.

To add a few more words to what has already taken up too many, there is a contingency liable to miscellanies of verse that I have never seen mentioned, so far as I can remember; I mean the chance little shocks that may be caused over a book of various character like the present and its predecessors by the juxtaposition of unrelated, even discordant, effusions; poems perhaps years apart in the making, yet facing each other. An odd result of this has been that dramatic anecdotes of a satirical and humorous intention (such, e.g., as “Royal Sponsors”) following verse in graver voice, have been read as misfires because they raise the smile that they were intended to raise, the journalist, deaf to the sudden change of key, being unconscious that he is laughing with the author and not at him. I admit that I did not foresee such contingencies as I ought to have done, and that people might not perceive when the tone altered. But the difficulties of arranging the themes in a graduated kinship of moods would have been so great that irrelation was almost unavoidable with efforts so diverse. I must trust for right note-catching to those finely-touched spirits who can divine without half a whisper, whose intuitiveness is proof against all the accidents of inconsequence. In respect of the less alert, however, should any one’s train of thought be thrown out of gear by a consecutive piping of vocal reeds in jarring tonics, without a semiquaver’s rest between, and be led thereby to miss the writer’s aim and meaning in one out of two contiguous compositions, I shall deeply regret it.

Samuel Talor Coleridge, painting by Peter Vandyke (1729-1799)

Having at last, I think, finished with the personal points that I was recommended to notice, I will forsake the immediate object of this Preface; and, leaving Late Lyrics to whatever fate it deserves, digress for a few moments to more general considerations.

Percy Bysshe Shelley, painting by Amelia Curran (1775-1847)

The thoughts of any man of letters concerned to keep poetry alive cannot but run uncomfortably on the precarious prospects of English verse at the present day. Verily the hazards and casualties surrounding the birth and setting forth of almost every modern creation in numbers are ominously like those of one of Shelley’s paper-boats on a windy lake. And a forward conjecture scarcely permits the hope of a better time, unless men’s tendencies should change. So indeed of all art, literature, and “high thinking” nowadays. Whether owing to the barbarizing of taste in the younger minds by the dark madness of the late war, the unabashed cultivation of selfishness in all classes, the plethoric growth of knowledge simultaneously with the stunting of wisdom, “a degrading thirst after outrageous stimulation” (to quote Wordsworth again), or from any other cause, we seem threatened with a new Dark Age. I formerly thought, like so many roughly handled writers, that so far as literature was concerned a partial cause might be impotent or mischievous criticism; the satirizing of individuality, the lack of whole-seeing in contemporary estimates of poetry and kindred work, the knowingness affected by junior reviewers, the overgrowth of meticulousness in their peerings for an opinion, as if it were a cultivated habit in them to scrutinize the tool-marks and be blind to the building, to hearken for the key-creaks and be deaf to the diapason, to judge the landscape by a nocturnal exploration with a flash-lantern. In other words, to carry on the old game of sampling the poem or drama by quoting the worst line or worst passage only, in ignorance or not of Coleridge’s proof that a versification of any length neither can be nor ought to be all poetry; of reading meanings into a book that its author never dreamt of writing there. I might go on interminably. [N.B. Here, Hardy alludes to Coleridge’s remarks in the Biographia Literaria: “In short, whatever specific import we attach to the word, Poetry, there will be found involved in it, as a necessary consequence, that a poem of any length neither can be, nor ought to be, all poetry.”]

But I do not now think any such temporary obstructions to be the cause of the hazard, for these negligences and ignorances, though they may have stifled a few true poets in the run of generations, disperse like stricken leaves before the wind of next week, and are no more heard of again in the region of letters than their writers themselves. No: we may be convinced that something of the deeper sort mentioned must be the cause.

In any event poetry, pure literature in general, religion—I include religion because poetry and religion touch each other, or rather modulate into each other; are, indeed, often but different names for the same thing—these, I say, the visible signs of mental and emotional life, must like all other things keep moving, becoming; even though at present, when belief in witches of Endor is displacing the Darwinian theory and “the truth that shall make you free,” men’s minds appear, as above noted, to be moving backwards rather than on.

The Book of Common Prayer, as used in the Anglican Church.

I speak, of course, somewhat sweepingly, and should except many isolated minds; also the minds of men in certain worthy but small bodies of various denominations, and perhaps in the homely quarter where advance might have been the very least expected a few years back—the English Church—if one reads it rightly as showing evidence of “removing those things that are shaken,” in accordance with the wise Epistolary recommendation to the Hebrews. For since the historic and once august hierarchy of Rome some generation ago lost its chance of being the religion of the future by doing otherwise, and throwing over the little band of neo-Catholics who were making a struggle for

Arthur Schopenhauer in 1818 (painting by Ludwig Sigismund Ruhl)

continuity by applying the principle of evolution to their own faith, joining hands with modern science, and outflanking the hesitating English instinct towards liturgical reform (a flank march which I at the time quite expected to witness, with the gathering of many millions of waiting agnostics into its fold); since then, one may ask, what other purely English establishment than the Church, of sufficient dignity and footing, and with such strength of old association, such architectural spell, is left in this country to keep the shreds of morality together? It may be a forlorn hope, a mere dream, that of an alliance between religion, which must be retained unless the world is to perish, and complete rationality, which must come, unless also the world is to perish, by means of the interfusing effect of poetry – “the breath and finer spirit of all knowledge; the impassioned expression of science,” as it was defined by an English poet who was quite orthodox in his ideas. But if it be true, as Comte argued, that advance is never in a straight line, but in a looped orbit, we may, in the aforesaid ominous moving backward, be doing it pour mieux sauter, drawing back for a spring. I repeat that I forlornly hope so, notwithstanding the supercilious regard of hope by Schopenhauer, von Hartmann, and other philosophers down to Einstein who have my respect.  But one dares not prophesy. Physical, chronological, and other contingencies keep me in these days from critical studies and literary circles

Where once we held debate, a band
Of youthful friends, on mind and art

(if one may quote Tennyson in this century of free verse). Hence I cannot know how things are going so well as I used to know them, and the aforesaid limitations must quite prevent my knowing hence-forward.

I have to thank the editors and owners of The Times, Fortnightly, Mercury, and other periodicals in which a few of the poems have appeared for kindly assenting to their being reclaimed for collected publication.

T. H. February 1922.

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