Abstract
One of Hardy’s earliest ambitions was to write plays in blank verse. As a young man in the 1860s, he even sought experience as an actor on the London stage, believing that this would teach him the techniques of drama. Forty years later he fulfilled his ambition in a manner he could hardly have anticipated, in his epic-drama, The Dynasts. In the intervening years, certainly from 1875 onwards, this work was being dreamed over, planned, prepared, and finally written — the magnum opus compared with which Hardy seems to have felt, like Milton similarly setting his sights on Paradise Lost, that in his prose works he had the use of his left hand only. Meanwhile, however, the dramatic talents which had to wait so long to burst out into sudden blaze found an outlet in the despised prose itself.
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Notes
W. May Phelps and John Forbes-Robertson, The Life and Life-Work of Samuel Phelps (London, 1886) 323.
Martin Meisel, Shaw and the Nineteenth-Century Theater (Princeton, NJ, 1963) 18, 23.
Michael R. Booth, English Melodrama (London, 1965) 18.
James L. Smith, Melodrama (London, 1973) 36.
Dutton Cook, Nights at the Play (London, 1883) 213.
J. Coleman, Memoirs of Samuel Phelps (London, 1886) 251.
A. E. Wilson, Christmas Pantomime, The Story of an English Institution (London, 1934 ) 126.
Penelope Vigar, The Novels of Thomas Hardy: Illusion and Reality (London, 1974) 93.
A. C. Sprague, Shakespeare and the Actors: The Stage Business in his Plays (1660–1905) (Cambridge, Mass., 1945) 227.
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© 1979 Joan Grundy
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Grundy, J. (1979). Theatrical Arts. In: Hardy and the Sister Arts. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-03943-2_3
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