Tag: Thomas Hardy

Nobody Comes by Thomas Hardy

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With any major poet who produces a large body of work, there are the poems that become famous and end up in anthologies and a lot of less well-known ones that are, perhaps unfairly, overlooked. A trawl through Thomas Hardy’s 900-page Collected Poems reveals many hidden gems.

Nobody Comes is dated 1924, towards the end of Hardy’s long life. It is thought to have been inspired by a real-life incident when his wife was in hospital and he was waiting for news. Perhaps not surprisingly, there is a sense of isolation and loneliness here.

Some of the imagery is not quite what one expects from Hardy, with references to a car and a telegraph wire. You might not identify it as a Hardy poem if you did not already know. Yet this modern imagery is set against a more familiar rural background.

Perhaps some of the powerful sense of melancholy here is that of an elderly man adrift in a changing world.   

Nobody Comes by Thomas Hardy

Tree-leaves labour up and down,
And through them the fainting light
Succumbs to the crawl of night.
Outside in the road the telegraph wire
To the town from the darkening land
Intones to travellers like a spectral lyre
Swept by a spectral hand.

A car comes up, with lamps full-glare,
That flash upon a tree:
It has nothing to do with me,
And whangs along in a world of its own,
Leaving a blacker air;
And mute by the gate I stand again alone,
And nobody pulls up there.

Against Oblivion by Henry Newbolt

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Henry Newbolt (1862–1938) is best remembered today for his patriotic ballads of British naval history that were very popular in the years before the first world war. His later poems, such as The Nightjar, are quite different in tone, more personal and reflective, but they have been completely overshadowed by the earlier ones, which is a great pity, I think.

I wrote in a post about Thomas Hardy’s poem At Castle Boterel that the lockdowns had affected my sense of time, with the past becoming as vivid to me as the present. Perhaps it is simply a question of having much more time to think than usual. The short poem below is therefore another one that seems quite appropriate at the moment.

Newbolt may well have been thinking about Dunwich in East Anglia. A once thriving community was reduced to the size of a small village by coastal erosion, with the greater part of the town being lost to the sea. The story goes that the church survived intact under the water, complete with its bells, that can still be heard on land when conditions are right.

It makes a wonderfully appropriate metaphor for the process of recovering memories long forgotten. Newbolt contemplates the remembrance of things past, rather like Proust. Who’d have thought it?


Against Oblivion by Henry Newbolt

Cities drowned in olden time
Keep, they say, a magic chime
Rolling up from far below
When the moon-led waters flow.

So within me, ocean deep,
Lies a sunken world asleep.
Lest its bells forget to ring,
Memory! set the tide a-swing!

At Castle Boterel by Thomas Hardy

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Something funny has happened to my sense of time during the various lockdowns. Memories of things I thought I had forgotten keep popping up into my mind and they seem as vivid as the present. Time has collapsed, and the barrier between the past and present has broken down, it would appear.

Perhaps it’s not just the strange circumstances of 2020 that has caused this. It might also have something to do with my experience of major surgery in hospital during the summer of that year.   

It feels appropriate, then, to look at a poem where Thomas Hardy reflects on his past and the passage of time.

I heard this poem in an edition of the BBC Radio 3 programme Words and Music, entitled “The Haunted Landscape”. The readings are not identified, so I did not know who had written it. The effect was quite interesting; something about the poem made me think it was comparatively recent. The word “wagonette” called to mind an American station wagon.

I was quite surprised that the poem turned out to be by Hardy. That demonstrates quite neatly, I think, why his poetry has lasted. He gets to grips with fundamental things that do not change. Although a Victorian, his sensibility feels curiously modern.

As in some of his other poems, in this one he contrasts the history of the landscape with the personal history of the speaker of the poem.  

The date at the bottom tells us that it is one of his “poems of 1912–13”, a series of elegiac poems where Hardy remembers his first wife and looks back on their life together.  

At Castle Boterel by Thomas Hardy

As I drive to the junction of lane and highway,
   And the drizzle bedrenches the waggonette,
I look behind at the fading byway,
   And see on its slope, now glistening wet,
         Distinctly yet

Myself and a girlish form benighted
   In dry March weather. We climb the road
Beside a chaise. We had just alighted
   To ease the sturdy pony’s load
         When he sighed and slowed.

What we did as we climbed, and what we talked of
   Matters not much, nor to what it led, ―
Something that life will not be balked of
   Without rude reason till hope is dead,
         And feeling fled.

It filled but a minute. But was there ever
   A time of such quality, since or before,
In that hill’s story? To one mind never,
   Though it has been climbed, foot-swift, foot-sore,
         By thousands more.

Primaeval rocks form the road’s steep border,
   And much have they faced there, first and last,
Of the transitory in Earth’s long order;
   But what they record in colour and cast
         Is—that we two passed.

And to me, though Time’s unflinching rigour,
   In mindless rote, has ruled from sight
The substance now, one phantom figure
   Remains on the slope, as when that night
         Saw us alight.

I look and see it there, shrinking, shrinking,
   I look back at it amid the rain
For the very last time; for my sand is sinking,
   And I shall traverse old love’s domain
         Never again.

March 1913

The Darkling Thrush by Thomas Hardy

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It can often be difficult to date a Hardy poem exactly. He wrote poems for many years before he started to publish them in the early twentieth century when his  career as a novelist began to wind down.

There is no such problem with The Darkling Thrush, because Hardy included a very specific date at the bottom of the poem. This confirms for us that the note of hope the speaker of the poem finds in the song of the bedraggled thrush, was a hope for the new twentieth century.

It’s one of Hardy’s best-known and best-loved poems, and it’s not hard to see why. With its strong rhythm and end rhymes it is powerfully musical, and a vivid evocation of a bleak, dead, and inhospitable wintry landscape. What is the message here? I think it is that when all seems lost, there is some hope, if only we can find it.

It’s a little early in the year for a winter poem, perhaps, but after the year we have all just experienced, Hardy’s song of hope speaks to us once more, as strongly as it ever did.   



The Darkling Thrush by Thomas Hardy

I leant upon a coppice gate
      When Frost was spectre-grey,
And Winter’s dregs made desolate
      The weakening eye of day.
The tangled bine-stems scored the sky
      Like strings of broken lyres,
And all mankind that haunted nigh
      Had sought their household fires.

The land’s sharp features seemed to be
      The Century’s corpse outleant,
His crypt the cloudy canopy,
      The wind his death-lament.
The ancient pulse of germ and birth
      Was shrunken hard and dry,
And every spirit upon earth
      Seemed fervourless as I.

At once a voice arose among
      The bleak twigs overhead
In a full-hearted evensong
      Of joy illimited;
An aged thrush, frail, gaunt, and small,
      In blast-beruffled plume,
Had chosen thus to fling his soul
      Upon the growing gloom.

So little cause for carolings
      Of such ecstatic sound
Was written on terrestrial things
      Afar or nigh around,
That I could think there trembled through
      His happy good-night air
Some blessed Hope, whereof he knew
      And I was unaware.

31 December 1900

A Wet Night by Thomas Hardy

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In these difficult times, here is a timely poetic reminder from Thomas Hardy, that those who came before us had to endure far worse and did so with stoicism.

 

I pace along, the rain-shafts riddling me,
Mile after mile out by the moorland way,
And up the hill, and through the ewe-leaze gray
Into the lane, and round the corner tree;

Where, as my clothing clams me, mire-bestarred,
And the enfeebled light dies out of day,
Leaving the liquid shades to reign, I say,
“This is a hardship to be calendared!”

Yet sires of mine now perished and forgot,
When worse beset, ere roads were shapen here,
And night and storm were foes indeed to fear,
Times numberless have trudged across this spot
In sturdy muteness on their strenuous lot,
And taking all such toils as trifles mere.

 

 

Weathers by Thomas Hardy

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I had been planning to post a favourite poem of mine, “Snow in the Suburbs” by Thomas Hardy, with a photo to match. Unfortunately, it doesn’t look as if there is going to be any snow in my neighbourhood this winter. Despite the wind and rain, we are heading towards spring. So, instead of a winter poem, here is another one by Hardy that contrasts spring and autumn.

 

Weathers

This is the weather the cuckoo likes,
And so do I;
When showers betumble the chestnut spikes,
And nestlings fly;
And the little brown nightingale bills his best,
And they sit outside at ‘The Traveller’s Rest,’
And maids come forth sprig-muslin drest,
And citizens dream of the south and west,
And so do I.

This is the weather the shepherd shuns,
And so do I;
When beeches drip in browns and duns,
And thresh and ply;
And hill-hid tides throb, throe on throe,
And meadow rivulets overflow,
And drops on gate bars hang in a row,
And rooks in families homeward go,
And so do I.