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 taking into account The Dynasts, the avowed complete poetical and dramatic interpretation of the essentials of the Hardy world-view, we may discover in the philosophical lyrics a system of thought more complete, more consistent, and more compactly and pungently presented than in any or all of his novels. The essence of Hardy's thought and the centre of his artistic conceptions are, after all, a very general and universal conception of man's destiny rather than a minute picture of a strictly limited section of English countryside, which is developed merely as a vehicle for the presentation of something infinitely larger.

One aspect of the Hardy-viewpoint should be mentioned here, as it partially vindicates his claim to be regarded as a lyric poet. Great lyric poetry, according to Shelley, records "the happiest moments of the happiest souls." With this inspiring sentiment in mind, it is well to remember that there were times when Hardy felt an undeniable delight in life and that he frequently gives the lie to all his intellectual renunciative convictions. As he himself said, we are all "unreasoning, sanguine visionary." Not only did he "long to hold as truth what fancy saith," but he often could not help admitting that memory is better than oblivion, and Time, with all his tricks, preferable to no-time. His idealistic errantry overcame his cynicism, and he bravely followed his star. Even his conception of the Will admitted a hope that informing and merciful consciousness might come with the passage of the years, just as man's inhumanity to man may be overcome by the gradual rooting out of remedi-