[Hardy-l] Re: Hardy-l Digest, Vol 31, Issue 3

[Jackie Wilkinson]

Yes, I think you are right, Ann, reference to actual text is much more
valuable than study of theory, and certainly in the investigation of the
carnivalesque and the grotesque in Hardy there has been little to rely on
other than the text itself. It has been such a joyful experience searching
for examples of these modes within the novels, and, interestingly, as I
explained in a previous email, it was precisely that sequence  concerning
Bathsheba on the Darwinian 'entangled bank' which lead me to the research in
the first place. As you perceptively note 'The Woodlanders' is a source of
other Darwinian connections, and it is enlightening to discover for oneself
how much Hardy was influenced by the work not only of Darwin but of Lyell
and Paley observed in his depiction of the cliff face sequence in 'A Pair of
Blue Eyes' and in other geological sequences. Furthermore, it is interesting
to note how many of hardy's grotesque descriptions concern water and fire as
in 'Desperate Remedies' and 'Far From the Madding Crowd' for example. I
constantly find myself surprised by the apparent lack of research in this
area of the grotesque and can't quite believe that I have discovered an
'untapped' mine as it were.  

One is always aware, however, that grotesque descriptions may escape the net
and for this reason I turned to the forum. So I am most grateful for your
offerings and suggestions, and for those anyone else cares to contribute.

Thanks again,

Jacky Wilkinson

 

  _____  

From: ANN WHITLOCK [mailto:ann.whitlock282 at btinternet.com] 
Sent: 04 April 2008 15:09
To: hardy-l at coyote.csusm.edu
Subject: [Hardy-l] Re: Hardy-l Digest, Vol 31, Issue 3

 


Jacky Wilkinson wrote:

To summate, I am examining the grotesque thread as observed in selected
incidents throughout Hardy's novels from 'Desperate Remedies', where Hardy
looks back over his shoulder to the gothic grotesque, to 'Jude' where he
looks forward to the grotesque as observed in Woolf and beyond, even finding
resonances in Pirandello and the 'Theatre of he Grotesque'. 
II realise that a whole book could be devoted to Hardy's employment of
the grotesque mode and that there is much encapsulation to be done - but
therein lies the charm!!
All the best,
Jacky Wilkinson 

 

Having read the correspondence on this topic, Jacky one suggestion (to add
to the many) is that you might consider  images of the grotesque
specifically related to the natural world.

 

The place where Bathsheba spends the night after discovering Fanny Robin and
child; the wood  in several references in later chapters of The Woodlanders,
the chapter in DR when Cytherea contemplates the mandrakes, and the images
of nature and heat in Mrs Yeobright walks across the heath, and the swede
cutting in TDU provide some patterns to contemplate. There are several
patterns which might be teased out between the imagery in the natural and
world and the human mind at  moments of pity and terror.

 

I have always thought that meticulous examination of texts are, in the end
the most reliable way of gaining insight into intent, regarding the links
between phsychological and psychical patterns, than theoretical models in
other people's work. That may be because  as both a student and in post
graduate research many years ago, I was always less able to retain an
interest in theory rather than practice in art!

 

Good luck with your fascinating research.

Ann Whiltock




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