Page:Life of Thomas Hardy - Brennecke.pdf/264

 from it to read again the first and second parts, with the original preface wherein the plan of the whole was laid down, we have become aware of a work marked, despite its superficial uncouthness, by a colossal unity and a staggering significance—a climax of that long series of novels in which Mr. Hardy has embodied both his poignant knowledge of the world of men and his grim, undeluded philosophy.

The elements composing this masterwork had been developing in the mind of the author for a long time. As early as June 20,1875, we find that he entered in his notebook the suggestion that he might attempt "An Iliad of Europe from 1789 to 1815." Five years later we find him writing The Trumpet-Major, in which he used the grim background of the war as an effective foil to the gay and mellow portrayal of an idyllic but pathetic love-story. Here we find such martial touches as the great review of King George's legions on the Wessex Downs, the false alarm of Bonaparte's invasion of the island, and the glorious news of Trafalgar. Especially interesting and effective is the introduction of the author's kinsman, Sir Thomas Masterman Hardy, as a character into the story. All these influences excite and move the unimportant and peaceful country people "as a groundswell moves the weeds in a cave." Among the shorter tales that were written during the latter part of his fiction period, there are several that bear testimony to the increasing insistence with which this favorite theme cried for expression. A Committee-Man of "The Terror" deals with the earlier French Revolution, with the action taking place in England; The Melancholy Hussar of the German Legion is a tragic tale of the Heimweh