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• W42272914 abstract "The well beloved Thomas Hardy, who had been awarded the prestigious Order of Merit, died in 1928 and buried with full ceremonial honors in Westminster Abbey. T. S. Eliot's misguided and unconvincing After Strange Gods (1934) notorious its crude anti-Semitism and its attacks on the recently dead Hardy and D.H. Lawrence. In 1933 Eliot had abandoned his wife--who fond of quoting poetry, with pointed allusions to Eliot's personal failings--and escaped to America to deliver series of lectures at the University of Virginia. The lectures, later published as book, were written during period of intense emotional turmoil and personal guilt. Eliot suppressed the book after publication, and it never reprinted in his lifetime or after his death. Eliot had been defining himself, in opposition to Hardy, many years. In his preface to For Lancelot Andrewes he described himself, with hieratic authority, as classicist in literature, royalist in politics, and anglo-catholic in religion (London: Faber & Gwyer, 1928, ix). He characterized Hardy (indifferent to the Victorian monarchy) as romantic in literature and unbeliever in religion. In an ex cathedra pronouncement, Tradition and the Individual Talent (1917), Eliot proclaimed that Poetry is not turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from (Selected Essays, 1917-1932, NY: Harcourt, Brace, 1932, 10). But in the epigraph to the facsimile edition of The Waste Land, Eliot admitted that his major poem was only the relief of personal and wholly insignificant grouse against life; it is just piece of rhythmical grumbling (ed. Valerie Eliot, London: Faber & Faber, 1971, 1). When he broke out of his puritanical carapace, Eliot as cunningly confessional as the more blatantly cathartic and self-lacerating Robert Lowell, John Berryman and Sylvia Plath. Eliot attacked Hardy with what the biographer Ralph Pite called virulent loathing and accused Hardy of being literally possessed by the devil (Thomas Hardy: The Guarded Life, NH: Yale U Press, 2007, 467). His writings on Hardy, in the half-century between 1916 and 1965, were consistently negative. But what qualities in Hardy provoked such savage reaction in the normally aloof and magisterial Eliot? In his review of H. C. Duffin's Thomas Hardy: A Study of the Wessex Novels he criticized, the first time, philosophy and his decadence. He wrote that Duffin presents no account of philosophy, and does not even succeed in showing that he has any.... The slaughter of Sue Bridehead's children in Jude ... hints at faint infection of decadence (Manchester Guardian, June 23, 1916, 3). In letter of December 22, 1924 to Ezra Pound, who admired Hardy as much as Eliot loathed him, Eliot conceded that he unable to provide judicious estimate of work: I am blind to the merits of ... Thomas Hardy. In Poetry and Propaganda he categorically, if paradoxically, asserted, Hardy's work would be better better philosophy, or none at all (Bookman, 70, February 6, 1930, 597). The title of After Strange Gods: A Primer of Modern Heresy comes from Deuteronomy 31:16, when the Lord prophesies to Moses that the Israelites rise up, and go whoring after the gods of the strangers of the land ... and will forsake me, and break my covenant. His argument suggests that Eliot, who believed that his church the only guarantee of moral and intellectual order, felt threatened by lack of religious faith. He called Hardy a powerful personality uncurbed by any institutional attachment or by submission to any objective beliefs. Eliot afraid of emotion in art and in life. Ignoring the merits of original style and provocative ideas--which had powerful effect on Lawrence, Pound, Sassoon, Graves, Auden and (later on) Larkin and Hughes--Eliot blindly asserted that Hardy writes for the sake of 'self-expression' . …" @default.
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• W42272914 title "T. S. Eliot and Thomas Hardy" @default.
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