Music and Dance

  • Joan Grundy

Abstract

Hardy’s devotion to ‘Tune’ was lifelong and, despite his self-reproaches in the Sala delle Muse, constant. It was part of his birthright: the Life prefaces its account of his birth with a description of the musical activities of his grandfather, prototype of old William Dewy of Under the Greenwood Tree, who played the bass-viol in the west gallery of Stinsford Church for thirty-five years; and of his father, who like Reuben, William’s son, played the tenor-violin. He owed his very existence to music, for as the charming sonnet ‘A Church Romance’ tells, the love between his parents began over a violin string:

She turned in the high pew, until her sight

Swept the west gallery, and caught its row

Of music-men with viol, book, and bow....

Keywords

Dust Fibril Straw Ghost Tempo 

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Notes

  1. 1.
    Elna Sherman, ‘Thomas Hardy: Lyricist, Symphonist’, Music and Letters, XXI (1940) 146.CrossRefGoogle Scholar
  2. 6.
    Harold Rosenthal, Two Centuries of Opera at Covent Garden (London, 1958).Google Scholar
  3. 9.
    Robert Liddell, A Treatise on the Novel paperback edition (London, 1965) 119–21.Google Scholar
  4. 10.
    Eva Mary Grew, ‘Thomas Hardy as Musician’, Music and Letters, xxi(1940)139.Google Scholar
  5. 11.
    William R. Rutland, Thomas Hardy: A Study of his Writings and their Background (Oxford, 1938) 179Google Scholar
  6. 13.
    J. Hillis Miller, Thomas Hardy, Distance and Desire (Cambridge, Mass., and London, 1970) ch.5 (‘The Dance of Desire’).Google Scholar
  7. 15.
    F. B. Pinion, A Hardy Companion (London, 1968) 102.Google Scholar
  8. 16.
    Ian Gregor, The Great Web: The Form of Hardy’s Major Fiction (London, 1974) 32 .Google Scholar
  9. 17.
    W. Wallace, The Life of Arthur Schopenhauer (London, 1890) 131.Google Scholar

Copyright information

© Joan Grundy 1979

Authors and Affiliations

  • Joan Grundy

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