Page:Life of Thomas Hardy - Brennecke.pdf/170

 Century in England. In addition there are encountered several very unusual stanza-forms, which seem to he original combinations with Hardy. Their general metrical regularity gives evidence of a thorough schooling in the models set for him by Tennyson and William Barnes, but one can already find traces of an aversion to the pursuit of liquidity and smoothness of versification for its own sake. Now and then the reader can detect the free displacement of accents, the syncopations, and other liberties that foreshadow the more advanced technique of his later poetry.

The situations treated in the more dramatic pieces are very seldom ideal from the romantic point of view—more often they are the more painful and disagreeable moments in love and life. This liking for sordid themes shows the point of view usually classed as "realistic," but the invariably humanly sympathetic treatment goes far to redeem the cruelty and coldness exhibited in the selection of material. There is also a curious coldness and aloofness that can be felt throughout even the more deeply conceived lyrics. The underlying poetic fervor is never found on the surface in extravagant rhetorical outbursts, but the inner force of the author’s personality is only discoverable underneath the external calm of the expression.

Sincere realism in the choice and treatment of situations is an evidence of a heroic and honest search for truth, whatever it may prove to be, and a refusal to accept optimistic conclusions on any point unless supported by reasoning derived from the facts of life. If it is true that, as Emerson once said, "God offers to