Page:Life of Thomas Hardy - Brennecke.pdf/23

 about that house. He was not born in a Lincoln log-cabin.

The talk shifts around, somehow, to the teaching of English writing. Can writing be taught? Hardy thinks so. He wants to know why they don't teach the writing of verse. It's the best method of learning how to handle words and sentences, he says, even if one's final object is the writing of clear and vivid prose.

"I never wanted to write prose novels at all. I was forced to manufacture my novels; circumstances compelled me to turn them out. All the time I composed verse. I wrote verse for years, long before I thought of writing prose. Lyrical activity was essential for my existence—and The Dynasts was crying for materialization, crying to be born, for many years. I wrote it because I had to, because of orders from within. It really wanted to come out in one burst, like a lyric—but the flesh is weak; I had to do it in three parts. . ..

"Max Beerbohm's burlesque of The Dynasts in his Christmas Garland gave me plenty of amusement. It's the cheerfulest parody on anything of mine that I've ever seen. I like Max. . ..

"Was it really difficult to get the earlier editions of The Dynasts in America? I'd heard something of the sort. If that ever happens again, do write me and I'll see what can be done about it. There's now a convenient pocket edition. I've only one copy, or I'd let you take it with you . . . It can be read on a railway journey. . ."

We are outside in the garden. Max Gate is covered with ivy leaves. It is a solid, unbeautiful, four-square house, but it squats there with a quaint dignity.