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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.

Not for publication: 'promises to present the distilled understanding and insight of Professor Hardy's lifetime engagement with George Eliot...strengths lie in the sensitive close reading that distinguishes Barbara Hardy's criticism and in the fascinating links and echoes between life and fiction that her comprehensive knowledge of the novelist's writing enables her to find...the proposed book would be accessible to a wide general readership and Barbara Hardy's established reputation would be a selling point in itself.' Readers report from John Rignall (Reader at University of Warwick...

Dylan Thomas's expressive, highly imaginative re-creation of forms and language intimately portrays his inner self and his time, earning him renown as one of the "great individualists of modern art." In this contemplative, focused study of poems, stories and other works by Thomas, including "Portrait of the Artist as a Young Dog" and "Under Milk Wood," Barbara Hardy emphasizes his creative achievements and high intelligence, analyzing his regional identity; response to other writers, especially James Joyce; modernist style; subject matter; use of language; and themes of art and the natural...

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. "

Charles Dickens's 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...

Not for publication: 'promises to present the distilled understanding and insight of Professor Hardy's lifetime engagement with George Eliot...strengths lie in the sensitive close reading that distinguishes Barbara Hardy's criticism and in the fascinating links and echoes between life and fiction that her comprehensive knowledge of the novelist's writing enables her to find...the proposed book would be accessible to a wide general readership and Barbara Hardy's established reputation would be a selling point in itself.' Readers report from John Rignall (Reader at University of Warwick...

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...

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...

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...