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Rh ecclesiastical architect of Dorchester. In 1859 he began writing verse and essays, but in 1861 was compelled to apply himself more strictly to architecture, sketching and measuring many old Dorset churches with a view to their restoration. In 1862 he went to London (which he had first visited at the age of nine) and became assistant to the late Sir Arthur Blomfield, R.A. In 1863 he won the medal of the Royal Institute of British Architects for an essay on Coloured Brick and Terra-cotta Architecture, and in the same year won the prize of the Architectural Association for design. In March 1865 his first short story was published in Chambers’s Journal, and during the next two or three years he wrote a good deal of verse, being somewhat uncertain whether to take to architecture or to literature as a profession. In 1867 he left London for Weymouth, and during that and the following year wrote a “purpose” story, which in 1869 was accepted by Messrs Chapman and Hall. The manuscript had been read by Mr George Meredith, who asked the writer to call on him, and advised him not to print it, but to try another, with more plot. The manuscript was withdrawn and re-written, but never published. In 1870 Mr Hardy took Mr Meredith’s advice too literally, and constructed a novel that was all plot, which was published in 1871 under the title Desperate Remedies. In 1872 appeared Under the Greenwood Tree, a “rural painting of the Dutch school,” in which Mr Hardy had already “found himself,” and which he has never surpassed in happy and delicate perfection of art. A Pair of Blue Eyes, in which tragedy and irony come into his work together, was published in 1873. In 1874 Mr Hardy married Emma Lavinia, daughter of the late T. Attersoll Gifford of Plymouth. His first popular success was made by Far from the Madding Crowd (1874), which, on its appearance anonymously in the Cornhill Magazine, was attributed by many to George Eliot. Then came The Hand of Ethelberta (1876), described, not inaptly, as “a comedy in chapters”; The Return of the Native (1878), the most sombre and, in some ways, the most powerful and characteristic of Mr Hardy’s novels; The Trumpet-Major (1880); A Laodicean (1881); Two on a Tower (1882), a long excursion in constructive irony; The Mayor of Casterbridge (1886); The Woodlanders (1887); Wessex Tales (1888); A Group of Noble Dames (1891); Tess of the D’Urbervilles (1891), Mr Hardy’s most famous novel; Life’s Little Ironies (1894); Jude the Obscure (1895), his most thoughtful and least popular book; The Well-Beloved, a reprint, with some revision, of a story originally published in the Illustrated London News in 1892 (1897); Wessex Poems, written during the previous thirty years, with illustrations by the author (1898); and The Dynasts (2 parts, 1904–1906). In 1909 appeared Time’s Laughing-stocks and other Verses. In all his work Mr Hardy is concerned with one thing, seen under two aspects; not civilization, nor manners, but the principle of life itself, invisibly realized in humanity as sex, seen visibly in the world as what we call nature. He is a fatalist, perhaps rather a determinist, and he studies the workings of fate or law (ruling through inexorable moods or humours), in the chief vivifying and disturbing influence in life, women. His view of women is more French than English; it is subtle, a little cruel, not as tolerant as it seems, thoroughly a man’s point of view, and not, as with Mr Meredith, man’s and woman’s at once. He sees all that is irresponsible for good and evil in a woman’s character, all that is untrustworthy in her brain and will, all that is alluring in her variability. He is her apologist, but always with a reserve of private judgment. No one has created more attractive women of a certain class, women whom a man would have been more likely to love or to regret loving. In his earlier books he is somewhat careful over the reputation of his heroines; gradually he allows them more liberty, with a franker treatment of instinct and its consequences. Jude the Obscure is perhaps the most unbiassed consideration in English fiction of the more complicated questions of sex. There is almost no passion in his work, neither the author nor his characters ever seeming able to pass beyond the state of curiosity, the most intellectually interesting of limitations, under the influence of any emotion. In his feeling for nature, curiosity sometimes seems to broaden into a more intimate communion. The heath, the village with its peasants, the change of every hour among the fields and on the roads of that English countryside which he has made his own—the Dorsetshire and Wiltshire “Wessex”—mean more to him, in a sense, than even the spectacle of man and woman in their blind and painful and absorbing struggle for existence. His knowledge of woman confirms him in a suspension of judgment; his knowledge of nature brings him nearer to the unchanging and consoling element in the world. All the entertainment which he gets out of life comes to him from his contemplation of the peasant, as himself a rooted part of the earth, translating the dumbness of the fields into humour. His peasants have been compared with Shakespeare’s; he has the Shakespearean sense of their placid vegetation by the side of hurrying animal life, to which they act the part of chorus, with an unconscious wisdom in their close, narrow and undistracted view of things. The order of merit was conferred upon Mr Hardy in July 1910.

See Annie Macdonell, Thomas Hardy (London, 1894); Lionel P. Johnson, The Art of Thomas Hardy (London, 1894).

HARDY, SIR THOMAS DUFFUS (1804–1878), English antiquary, was the third son of Major Thomas Bartholomew Price Hardy, and belonged to a family several members of which had distinguished themselves in the British navy. Born at Port Royal in Jamaica on the 22nd of May 1804, he crossed over to England and in 1819 entered the Record Office in the Tower of London. Trained under Henry Petrie (1768–1842) he gained a sound knowledge of palaeography, and soon began to edit selections of the public records. From 1861 until his death on the 15th of June 1878 he was deputy-keeper of the Record Office, which just before his appointment had been transferred to its new London headquarters in Chancery Lane. Hardy, who was knighted in 1873, had much to do with the appointment of the Historical Manuscripts Commission in 1869.

Sir T. Hardy edited the Close Rolls, Rotuli litterarum clausarum, 1204–1227 (2 vols., 1833–1844), with an introduction entitled “A Description of the Close Rolls, with an Account of the early Courts of Law and Equity”; and the Patent Rolls, Rotuli litterarum patentium, 1201–1216 (1835), with introduction, “A Description of the Patent Rolls, to which is added an Itinerary of King John.” He also edited the Rotuli de oblatis et finibus (1835), which deal also with the time of King John; the Rotuli Normanniae, 1200–1205, and 1417–1418 (1835), containing letters and grants of the English kings concerning the duchy of Normandy; the Charter Rolls, Rotuli chartarum, 1199–1216 (1837), giving with this work an account of the structure of charters; the Liberate Rolls, Rotuli de liberate ac de misis et praestitis regnante Johanne (1844); and the Modus tenendi parliamentum, with a translation (1846). He wrote A Catalogue of Lords Chancellors, Keepers of the Great Seal, Masters of the Rolls and Officers of the Court of Chancery (1843); the preface to Henry Petrie’s Monumenta historica Britannica (1848); and Descriptive Catalogue of Materials relating to the History of Great Britain and Ireland (3 vols., 1862–1871). He edited William of Malmesbury’s De gestis regum anglorum (2 vols., 1840); he continued and corrected John le Neve’s Fasti ecclesiae Anglicanae (3 vols., Oxford, 1854); and with C. T. Martin he edited and translated L’Estorie des Engles of Geoffrey Gaimar (1888–1889). He wrote Syllabus in English of Documents in Rymer’s Foedera (3 vols., 1869–1885), and gave an account of the history of the public records from 1837 to 1851 in his Memoirs of the Life of Henry, Lord Langdale (1852), Lord Langdale (1783–1851), master of the rolls from 1836 to 1851, being largely responsible for the erection of the new Record Office. Hardy took part in the controversy about the date of the Athanasian creed, writing The Athanasian Creed in connection with the Utrecht Psalter (1872); and Further Report on the Utrecht Psalter (1874).

His younger brother, (1807–1887), was also an antiquary. He entered the Record Office in 1823, leaving it in 1830 to become keeper of the records of the duchy of Lancaster. In 1868, when these records were presented by Queen Victoria to the nation, he returned to the Record Office as an assistant keeper, and in 1878 he succeeded his brother Sir Thomas as deputy-keeper, resigning in 1886. He died on the 17th of March 1887.

Sir W. Hardy edited Jehan de Waurin’s Recueil des croniques et anchiennes istories de la Grant Bretaigne (5 vols., 1864–1891); and he translated and edited the Charters of the Duchy of Lancaster (1845).

HARDY, SIR THOMAS MASTERMAN, Bart. (1769–1839), British vice-admiral, of the Portisham (Dorsetshire) family of Hardy, was born on the 5th of April 1769, and in 1781 began