Abstract
Surrealism has been defused, made harmless. In its debased form, it can be used to give a touch of the wittily bizarre to an advertisement. But surrealism itself was a challenge, an attempt to create a revolution in consciousness, to enlarge our concept of reality, to intensify our ability to see — both the visible and the invisible; the inner world and the unconscious are as ‘real’ as the known and the seen.
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Notes
Tom Paulin, The Poetry of Perception (London: Macmillan, 1976) p. 24.
Quoted by R. H. Wilenski, Modern French Painters (London: Faber & Faber, 1945) p. 274.
Joan Grundy, Hardy and the Sister Arts (London: Macmillan, 1979) p. 57.
In Max Ernst, Beyond Painting and Other Writings by the Artist and his Friends (New York: Wittenborn, Shultz, 1948) p. 193.
Andre Breton, ‘First Surrealist Manifesto’, in Manifestoes of Surrealism, trans. Seaver and Lane (Ann Arbor: University of Michigan Press, 1972).
Quoted in P. Waldberg, Surrealism, trans. Stuart Gilbert (New York: Skira, 1962).
Alan Burns, ‘Writing by Chance’ Times Higher Educational Supplement, 29 January 1982.
Michael Millgate, Thomas Hardy: A Biography (London: OUP, 1982) p. 188.
Herbert Read, The Philosophy of Modern Art (London: Faber & Faber, 1964) p. 137.
Norman Page, Thomas Hardy (London: Routledge & Kegan Paul, 1977) p. 64.
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© 1985 Norman Page
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Sumner, R. (1985). Some Surrealist Elements in Hardy’s Prose and Verse. In: Page, N. (eds) Thomas Hardy Annual No. 3. Macmillan Literary Annuals. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-07104-3_3
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