Abstract
Until recently, Thomas Hardy’s short stories have been ignored by critics and readers alike. Yet the tales occupy an important place in Hardy’s career and an interesting, if minor, one in the development of narrative form. They were written between 1865 and 1900, a longer period than he devoted to novel writing and a time when the genre of the short story was only beginning to be accepted in England. Hardy himself used the terms story, tale, and novel interchangeably, and appears to have made no strict theoretical distinction between the novel and short story as literary genres. For him, a story ‘worth the telling’ (LY, 158) was the single criterion for good fiction, and form was more a matter of ‘shape’1 than of length. In practice, however, he was forced to distinguish between short stories and novels because the two genres were differently perceived by the British public. When he began to write in the 1860s, the three-volume novel, preceded by magazine serialization, was the standard and most lucrative form of publication, while publishers were in general more reluctant than in America or on the Continent to print serious short fiction.2
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Notes
For discussions of the short story in England during the nineteenth century see: T. O. Beachcroft, The Modest Art (London: OUP, 1968) p. 120;
Wendell V. Harris, ‘English Short Fiction in the Nineteenth Century’, Studies in Short Fiction, 6 (1968) 1–93;
Q. D. Leavis, Fiction and the Reading Public (London: Chatto & Windus, 1932) pp. 26–32;
Brander Matthews, The Philosophy of the Short Story (London: Longmans Green, 1912) pp. 56–60;
William Somerset Maugham, ‘The Short Story’, Transactions of the Royal Society of Literature of the United Kingdom, NS 25 (1950) 120–34;
Frank O’Connor, The Lonely Voice (New York: World Publishing Co., 1963) p. 19;
Sean O’Faolain, The Short Story (New York: Devin-Adair, 1951) pp. 26–32;
H. G. Wells, The Country of the Blind (London: Thomas Nelson, 1911) pp. iv–v.
George Saintsbury, The English Novel (London: J. M.Dent, 1913) p. 264.
The description of the execution can be traced to a report in the Morning Chronicle noted by Hardy in the ‘Trumpet-Major Notebook’ (The Personal Notebooks of Thomas Hardy, ed. Richard H. Taylor [New York: Columbia University Press, 1979] pp. 124–5). The vicar of Broadwey reported that Hardy came there to examine the Bincombe registers (Carl J. Weber, Hardy and the Lady from Madison Square [Waterville, Maine: Colby College Press, 1952] p. 93).
Helen Cooper, Pastoral: Medieval into Renaissance (Totowa, N. J.: Rowman & Littlefield, 1977) p. 2. See also:
William Empson, Some Versions of Pastoral (London: Chatto & Windus, 1935);
Frank Kermode, introd. to English Pastoral Poetry (London: Harap Books, 1952) pp. 11–44;
John F. Lynen, The Pastoral Art of Robert Frost (New Haven, Conn.: Yale University Press, 1960);
Pastoral and Romance, ed. Eleanor Terry Lincoln (Englewood Cliffs, N. J.: Prentice-Hall, 1969).
Ruth A. Firor, Folkways in Thomas Hardy (1922; repr. Phila.: University of Pennsylvania Press, 1931) p. 244.
See James L. Roberts, ‘Legend and Symbol in Hardy’s “The Three Strangers”’, Nineteenth-Century Fiction, 17 (1962) 192.
William Dean Howells to S. L. Clemens, 10 July 1883, in Mark Twain-Howells Letters, ed. Henry Nash Smith and William M. Gibson (Cambridge, Mass.: Belknap Press of Harvard University Press, 1960) I, 434.
Richard Little Purdy, Thomas Hardy: A Bibliographical Study (1954; rev. edn. Oxford: Clarendon Press, 1968) p. 82.
S. M. Ellis, ‘Thomas Hardy: Some Personal Recollections’, Fortnightly Review, NS 123 (1928) 398.
Mary Caroline Richards, ‘Thomas Hardy’s Ironic Vision’, The Trollopian, 3 (1949) 273.
Stephen to Hardy, 10 Jan. 1888, in The Life and Letters of Leslie Stephen, ed. Frederic William Maitland (London: Duckworth, 1906) pp. 393–4.
See John Symonds Udal, Dorsetshire Folk-lore (Hertford, 1922; repr. St Peter Port, Guernsey: Toucan Press, 1970) pp. 157–8, and
Denys Kay-Robinson, Hardy’s Wessex Reappraised (Newton Abbot: David & Charles, 1972) p. 131. Hardy made a note on the Cerne giant in 1890 (‘Memoranda I’, 12 Sept. 1890, in Taylor, p. 26).
For discussions of the system of renting cows see G. E. Fussell, ‘“High Farming” in Southwestern England, 1840–1880’, Economic Geography, 24 (1948) 57; and
Barbara Kerr, ‘The Dorset Agricultural Labourer, 1750–1850’, Proc. of the Dorset Natural History and Archaeological Sodety, 84 (1962) 176.
The railway came to Bridport in 1857 (David St John Thomas, A Regional History of the Railways of Great Britain, Vol. I: The West Country [1960; rev. edn Bristol: David & Charles, 1966] p. 148).
For discussions of the historical circumstances see Eric J. Hobsbawm and George Rudé, Captain Swing (London: Lawrence & Wishart, 1969), and
Cal Winslow, ‘Sussex Smugglers’, in Albion’s Fatal Tree, Douglas Hay, et al. (New York: Pantheon Books, 1975) pp. 119–66.
Bert G. Hornback, The Metaphor of Chance (Ohio University Press, 1971) p. 13. See also
William Van O’Connor, ‘Cosmic Irony in Hardy’s “The Three Strangers”’, English Journal, 47 (1958) 250.
The Later Life and Letters of Sir Henry Newbolt, ed. Margaret Newbolt (London: Faber and Faber, 1942) pp. 185–6.
See: Donald Davidson, ‘The Traditional Basis of Hardy’s Fiction’, Southern Review, 6 (1940) 162–78;
Robert Keily, ‘Vision and Viewpoint in The Mayor of Casterbridge’, Nineteenth-Century Fiction, 23 (1968) 189–200;
David Lodge, Language of Fiction (London: Routledge & Kegan Paul, 1966) pp. 164–88.
See: Lucille Herbert, ‘Thomas Hardy’s Views in Tess of the d’Urbervilles’, ELH, 37 (1970) 78;
Lodge, ‘Thomas Hardy and Cinematographic Form’, Novel, 7 (1974) 250;
J. Hillis Miller, Thomas Hardy: Distance and Desire (Cambridge, Mass.: Belknap Press of Harvard University Press, 1970).
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© 1982 Kristin Brady
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Brady, K. (1982). Wessex Tales: Pastoral Histories. In: The Short Stories of Thomas Hardy. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-07402-0_1
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