The noted British literary scholar turns her attention to the rarely examined topic of narrative in the plays and offers some new insight into the playwright's craft. Shakespeare makes narrative theatrical and it is as prominent in his craft and language as characterization and imagery. Hardy analyzes key structures, including reflexive narrative and the narrative compoundings used to begin and end plays. She also examines narrative subtleties in the works of Plutarch, Holinshed, Brooke, and Sidney that Shakespeare read. Finally, she explores common narrative techniques -- memory, forecast, and gendered story -- and extensively analyzes these issues in three plays: Hamlet, King Lear, and Macbeth.

This monograph covers Dickens and creativity, analysing both his discussion of creativity and imagination and illustrations in his work.Charles Dickens' experience and imagining of creativity is at the heart of his self-awareness, subject-matter and narrative. His intelligence works intuitively rather than conceptually and ideas about imagination often emerge informally in personal letters and implicitly through characters, language and story. His self-analysis and reflexive tendency are embedded in his styles and forms of narrative and dialogue, images of normality, madness, extremity, subversion and disorder, poetry and inter-textuality, anticipating and shaping the languages of modernism, influencing James Joyce and Virginia Woolf as well as traditionalists like H.G. Wells and Evelyn Waugh.Discussing Dickens' novels and some of his letters, sketches, essays and stories, Barbara Hardy offers a fascinating demonstration of creativity.

George Eliot (1819-1880) was one of the leading writers of the Victorian period and she remains one of Britain's greatest novelists. This brief life offers new insights into Eliot's life and work focusing on the themes, patterns, relationships, feelings and language common to both her life and writing. Barbara Hardy discusses Eliot's relations with parents and siblings, her brave but joyful unmarried partnership with George Henry Lewes, her friendships and her late brief marriage to the younger John Cross. Setting her life and fiction side by side, Hardy reveals Eliot's ideas about society, home, foreignness, nature, gender, religion, sex, illness and death and her experiences as translator, journalist, editor and novelist. Drawing on letters, journals, journalism and the memoirs and biographies written by contemporaries, Hardy brings together a biographical approach with close reading of Eliot's novels to give a combined perspective on her life and art. This book offers students, academics and readers alike an illuminating portrait of George Eliot as a woman and a writer.

Nature, not art, makes us all story-tellers. Daily and nightly we devise fictions and chronicles, calling some of them daydreams or dreams, some of them nightmares, some of them truths, records, reports and plans. The object of this book is to look at these natural narrative forms and themes, which have been neglected by critics but recognized by narrative artists, using literary criticism in order to argue the limits and limitations of literature. Although Hardy's suggestions about narrative apply broadly to all artistic forms, in the second part of the book she approaches the subject through a detailed analysis of three authors, Dickens, Hardy and Joyce, all profound and far-reaching analysts of narrative structures and values.

This title, first published in 1970, consists of essays on the individual tales and novels of George Eliot, with two general essays that discuss the novels as a whole and cuts across the individual works. The primary concern of these studies is to see what the limits of George Eliot's greatness are, to consider the purpose and end of the technical brilliance, and to attend to what she has to say to us across a century of change and developing historical and psychological consciousness. This book will be of interest to students of literature.

This Anglo-American collection of essays on Middlemarch comprises a many-faceted study of a great and much-discussed novel. Written by scholars on both sides of the Atlantic who are linked by a close and concentrated interest in the novel, this group of complementary and interrelated studies is representative of its time, both in its range and in the way it looks back and ahead in methods and conclusions. It mixes formal analysis and doubts about formal analysis; studies of background and studies of foreground; and proffers examples of linguistic criticism of a relaxed and eclectic kind. Readers already familiar with Middlemarch will get much from the book, but it will be useful to both students and scholars of the novel form. Because Middlemarch is a novel of such range and profundity, a treasure-house of detail and a remarkable whole, a fine and subtle work of art and a creation of character and communities, it raises issues which touch off responses to most novels.

In this substantial essay on the novel (first published in 1964) Barbara Hardy distinguishes three integral aspects of the art of fiction - story, the working-out of a moral problem, and "truthfulness," defined as "the lively representation of reality." From this standpoint she discusses and elucidates some characteristic excellences and limitations of a number of major novels and novelists, including Defoe, Charlotte Bronte, George Eliot, Meredith, James, Hardy, E. M. Forster, and D. H. Lawrence."

This title, first published in 1970, consists of essays on the individual tales and novels of George Eliot, with two general essays that discuss the novels as a whole and cuts across the individual works. The primary concern of these studies is to see what the limits of George Eliot's greatness are, to consider the purpose and end of the technical brilliance, and to attend to what she has to say to us across a century of change and developing historical and psychological consciousness. This book will be of interest to students of literature.

In the title essay, Professor Hardy argues for the special advantage of lyric over other other literary genres in conveying intense private feelings publicly. She then gives detailed consideraton to the lyric poetry of John Donne, Arthur Hugh Clough, and a group of poets central to the modernist canon: Hopkins, Yeats, Aden, Dylan Thomas, and Sylvia Plath. Those interested in W.H. Auden will find the book of particular value, since Auden occupies a central place in it. W.H. Auden has frequently been held up as the modern example par excellence of a 'public poet' whose works betray relatively little in the way of personal emotion. In the cahpters entitled 'The Reticence of W.H. Auden, Thirties to Sixties: A Face and a Map' barbara Hardy shows the inadequacy of that characterization and opens the way for a fresh appreciation of Auden's achievement as a poet. Readers interested in modern poetry genearlly and all readers acquainted with Barara Hardy's previous books will the book of importance.

The first fully detailed and critically contextualised study of the novels of Ivy Compton-Burnett Ivy Compton-Burnett is a strikingly original novelist, writing conversation-novels in which talk is the medium and subject. She is innovative like Joyce and Woolf but more accessible and less theoretical, a modernist unawares. She makes readers think and her terse cool witty style reminds us that the novel is an art. To read most living writers of fiction after reading her is to feel novelists have become lazy and made their readers lazy. She requires attention, and she doesn't write to pass the time or invite identification, but she is amusing and challenging. This re-valuation of a neglected artist is a close analysis of forms, ideas and language in novels which range from her first conventionally moral love-story, Dolores, which she tried to suppress, to startling stories about landed gentry in Victorian and Edwardian England. Key Features Provides incisive and accessible close readings of Compton-Burnett's language, life-narratives, emotional expression and thought Presents new work of a leading critic Places Compton-Burnett in the context of Modernist writing

Dorothea's Daughter is a stunning new collection of short stories based on novels by Jane Austen, Charlotte Bronte, Charles Dickens, George Eliot, and Thomas Hardy. They are postscripts, rather than sequels, entering into dialogues with the original narratives by developing suggestions in the text. The authors' conclusions are respected, with no changes made to the plot; instead, Barbara Hardy draws out loose threads in the original fabric to weave new material, imagining moments in the characters' future lives."

This monograph covers Dickens and creativity, analysing both his discussion of creativity and imagination and illustrations in his work.Charles Dickens' experience and imagining of creativity is at the heart of his self-awareness, subject-matter and narrative. His intelligence works intuitively rather than conceptually and ideas about imagination often emerge informally in personal letters and implicitly through characters, language and story. His self-analysis and reflexive tendency are embedded in his styles and forms of narrative and dialogue, images of normality, madness, extremity, subversion and disorder, poetry and inter-textuality, anticipating and shaping the languages of modernism, influencing James Joyce and Virginia Woolf as well as traditionalists like H.G. Wells and Evelyn Waugh.Discussing Dickens' novels and some of his letters, sketches, essays and stories, Barbara Hardy offers a fascinating demonstration of creativity.

The author offers close readings of Thomas Hardy's poetry and novels, regarding these as expressive forms of everyday and professional acts of the imagination. Hardy is placed in the long tradition of writers who subject is not art but imagination and whose most interesting aesthetic introspection+as, like those of Jane Austen and George Eliot, are oblique or sub-textual. So what the reader follows here is Hardy's imagining of imagination in his elegies and nature poems and in his major characters from Gabriel Oak to Tess and Jude.The themes and forms examined by Barbara Hardy include narrative, conversation, gossip, memory, gender, poetry of place and imaginative thresholds. Altogether the study is a lucid and accessible introduction, which locates Hardy's place in the tradition of English literature.

A Reading of Jane Austen (first published by Peter Owen in 1975) has established itself with critics and readers as an outstanding contribution to the growing literature on this author, full of fresh and stimulating perceptions. Central to the work is Barbara Hardy's view of Jane Austen as the originator of the modern novel, largely through her creation of a new and flexible medium enabling her to move easily from sympathy to detachment, from one mind to many minds, from solitary scenes to social gatherings.

Professor Barbara Hardy is a noted critic of nineteenth-century fiction but her essays on Dickens have hitherto been scattered widely among critical journals and anthologies. The seven studies she has here collected, introduced, and in part revised, together make up a sustained exploration of the moral concern which informs the novelist's work and gives to his portrayal of society and the individual its unique quality. A general discussion of the moral nature of Dickens' art leads to a study of patterns of change and conversion and this in turn to a close examination of four representative novels: Pickwick Papers, Martin Chuzzlewit, David Copperfield, and Great Expectations.>