Thomas Hardy’s “On The Western Circuit”

After reading Thomas Hardy’s “On The Western Circuit,” I could not narrow down my views of the novel enough to come up with a topic of interest to write about.  After some research, I found out that Thomas Hardy was part of the Naturalist movement during his time, which gave me a starting point.  The following are interesting references that helped narrow my ideas for this blog:

http://www.merriam-webster.com/dictionary/naturalism
http://encarta.msn.com/encyclopedia_761570473/thomas_hardy.html
http://encarta.msn.com/encyclopedia_761570473/thomas_hardy.html
And of course, the e-text

Different from the Romantics before his time, Hardy’s faith was not affirmed by the supernatural symbols or the explicit “signs” of god.  Being the age of industrial maturity, life’s experiences was heavily influenced by the materialistic surroundings.  As technology and science advances, the movement is more towards realism, where what is to be proven is through the five senses.  The title “On the Western Circuit” itself portrays the modernistic nature of the time.  The complex story unfolds under a crowded atmosphere of a dizzying technology that Hardy depicts as the mechanical workings of the revolving “circus” merry-go-round:

Their motions were so rhythmical that they seemed to be moved by
machinery. And it presently appeared that they were moved by machinery
indeed; the figures being those of the patrons of swings, see-saws, flying-leaps,
above all of the three steam roundabouts which occupied the centre of the
position. It was from the latter that the din of steam-organs came. (Hardy 1)

You can tell from this passage that life in the city was not simple, but very fast moving and complex.  And this imagery may well be the very depiction of the inner thoughts and emotions of the people at the time.  No longer is farming or “the simpler things in life” a goal of England’s people.  Instead, due to the nation’s growth, the wants and desires have expanded towards the aristocracy, high regards to education, and prosperity gains.   Even Charles of the story demines his absent minded wife when he learns of her illiterateness:  “To his surprise she had progressed but a few lines, in the characters and spelling of a child of eight, and with the ideas of a goose… ‘Anna,’ he said, staring; ‘what’s this?’” (Hardy 8)  Anna herself proclaimed of her shortcomings as she protest to tell her future husband the truth when mistress Harham inquires her so:  “‘O mis’ess, dear mis’ess—please don’t tell him now!’ cried Anna in distress. ‘If you were to do it, perhaps he would not marry me;” (Hardy 7).  In addition, mistress Harham’s jealousy pity on her maid expressed her value on intelligence:  “‘O!’ she groaned, as she threw down the pen. ‘Anna—poor good little fool—hasn’t intelligence enough to appreciate him! How should she? While I—don’t bear his child!’” (Hardy 7)  It is clear that education and material wealth plays a big part in what is defined as success or happiness in modern England.  Even though Charles may have portrayed a glimpse of  noble sacrifice for true love (“He said that in offering to wed her he had, at first, contemplated the step of retiring from a profession,”  its authenticity was defiled as he justified the crux to his reason:  “He felt sure that, with her powers of development, after a little private training in the social forms of London under his supervision, and a little help from a governess if necessary, she would make as good a professional man’s wife as could be desired, even if he should rise to the woolsack” (Hardy 7).

Although much emphasis was placed on the visual imagery of the surroundings, I believe that Hardy’s main focused was to show the complex emotions involved with the experiences of imperfect love, which was contrasted the Romanticist definition of love.  Particularly in this work, Hardy shows three transpiring emotions:  the quick first impressions love (between Charles and Anna’s first encounter), the more deep spiritually developed love (between Charles and Harham’s correspondence), and the disconnected and unfulfilled love (between Anna and Charles and between Charles and Harham).  No longer is there the “happily ever after” love that exists with traditional poets before his time.  Hardy wanted to change this, and also change the direction of poetry, in order to express what was missing in the art, and that is the imperfections of life.

It seems that every author is influenced by his/her religious background and that their work ultimately tries to show their perspective and understandings of life.  For Hardy, his faith lies not in signs or supernatural experiences of God, but rather the natural causes and effects of nature.  The story is like a fable, in that there lays the simplest teachings of morality.  As a result of characters selfish greed (Anna’s selfish desire to keep Charles, Mistress Harham’s superficial love interaction through the letters with Charles, and Charles selfishness for both lust and true love), each resulted in bearing the worst consequence.  Charles, with an empty soul, has the responsibility to take care of the ill educated Anna that stemmed from his short-lived lust.  Mistress Harham must bear for the rest of her life a love that will never be but in her dreams and the letters through her correspondence with Charles while returning to her husband, who knows no “language of love making.”  In addition, she blames herself for Charles “ruin.”  Charles himself accepts this as his punishment as he states “It serves me right!” (Hardy 9).  And Anna is worst of all, in that even though she gained Charles for the rest of her life, she has not gained his heart and ironically, is even ignorant of the fact:

‘What are you doing, dear Charles?’ she said timidly from the other window,
and drew nearer to him as if he were a god.
‘Reading over all those sweet letters to me signed “Anna,”‘ he replied with
dreary resignation. (Hardy 9)

In “On the Western Circuit,” Hardy shows how each and every consequence is the result of a previous action whether intentional or not.  All three main characters in the story have some moral sense.  However, they are unable to win over their human desires to do what is right.  It is themselves that they love more than anything else and their fate is a consequence of the distrust, falsified identify, and selfish desires that have stemmed from the nature of their “mechanical” society.  Once again, I believe the title was named to give multiple meanings.  The obvious is that the name represents a symbol of the superficial materialistic nature of modern England.  The other is that it represents a symbol of the complex and unhealthy spiritual nature of the people as a result of the England’s “Western Circuit.”  In this piece, Hardy does a good job of portraying modern England, inside and out, while introducing the new concepts of love that is so different from the popular Romantic poets.

Hopkins’ Alliterative Poetry of “Pied Beauty”

Of all of Hopkins work referenced in our text, the “Longman’s Anthology,” “Pied Beauty” is most notable in finding the author’s alliterative style.  Almost every verse is filled with the repetitious consonance in his imagery of all things.  “couple-colour,” “Fresh-firecoal,” “Landscape plotted and pieced—fold, fallow, and plough,” just to name a few examples all show the author’s significant use of alliteration combined with illustrative words to depict his objects of interest (775).  Why is it that Hopkins makes so much use of this style of prose?  The answer is hinted in the opening foreword preceding his works in our text.  It is referenced that Hopkins state “My verse – less to be read than heard” because “it is oratorical” (774).  This means that his work is very eccentric and is meant of the reader to not just “hear” but also to use his creative imagination to experience the observations.  By using his detailed visual, audio, and tactile alliteration, the experience is further amplified to not only submerse the reader into the imagery, but also to exemplify God’s supernatural greatness, which is an overarching theme of his works.  In “Pied Beauty,” this is accomplished well as we can see the meticulous of all of nature simultaneously rather than a focus on any single one entity:  the “skies,” the animals’ movements, the “chestnuts” falling, the plowing of the earth (775).  Although such a short poem, Hopkins diversity of subjects allows the reader to see a grand view of “Pied Beauty.”  It’s interesting to note that Hopkins studied for seven years for priesthood (773).  It makes me think that his style is either the result of the oral skills practice and required for preaching, or the result of a need for such a device to build energy in his audience to further motivate and moralize them.

Hopkins' "God's Grandeur"

What is it that makes a Victorian poet Victorian?  Like the variable definitions of Romantics, so is the diverseness of what defines Victorian.  After reading Gerard Manley Hopkins’ “God’s Grandeur,” we can see one of the many forms of Victorianism.  With alliterative style and sharp attention to detail, Hopkins portrays the greatness of God through the depiction of nature with powerful uses of imagery to show nature and its natural beauties.

Observing the author’s illustrative style, we can see that the reader is directed to focus on the finest detail of nature’s simple, yet marvelous traits:  “It will flame out, like shining from shook foil… like the ooze of oil” (744).  It’s as if Hopkins was observing nature under a microscope while time is slowed down to view its intricacies.

This illustration just one of many common and frequent occurrences of nature that is normally overlooked and ignored by a passing observer.  It makes me think that the author is telling his reader to “stop and smell the roses.”  Greatness is all around us as long as we are aware of it.  This idea is further reinforced as Hopkins states men’s ignorance of God’s “Grandeur”:  “Why do men then now not reck his rod?”  Here, Hopkins reference to “his rod” is God’s rod of greatness.

Hopkins abhorrence of men’s industrialism is evident when he notes that “all is seared with trade; bleared, smeared with toil.”  His use of words gives us an unpleasant feeling of men’s actions.  Even after all of men’s work and contamination of the land (“And wears man’s smulge and shares men’s smell:  the soil” ), man still misses to see the greatness of it all:  “and for all this, nature is never spent.”  I interpreted this line to mean that although man spends so much on the tilling of the land and technological advancement, he has yet to spend nature’s true greatness, and that is time, beauty, and its natural magnificence. (775)

The last 5 verses are particularly interesting to note since there is a message of not only God’s greatness, but also of its timelessness.  “Although the last lights off the bleek West went… Oh, morning, at the brown brink eastward, springs—Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings.”  Here, Hopkins portrays the daily and never-ending presence of God as the “Holy Ghost” with a metaphor of the sunrise and sunsets of each day.  Although the light ends the night, the day will always come to once again light the world with of “warmth” and “bright wings.” (755)

Hopkins’ “God’s Grandeur” was very interesting and different from previous authors that we have read in that he uses powerful imagery through his use of alliterative prose.  His style allows the creative mind to feel, see, touch, and experiences the imagery and glory of God’s presence.  For Hopkins, even in the most meticulous of things contain the greatness of God.  If we stand back and realize that this is just a speck of nature, how great is it when we consider the whole of things!  Indeed, “the world is charged with the grandeur of God” (774).

Carlyle's Portrayal of "Modern" England's "Enchanted" Condition

In “Past and Present,” Thomas Carlyle highlights the need for “modern” England’s realization of the illusory nature of materialistic gains.  He states “England is full of wealth, of multifarious produce, supply for human want in every kind; yet England is dying of inanition” (477).  Although England flourished with wealth, there was something that starved the country of its richness.  Throughout this piece, Carlyle gave many examples to show the unrealistic happiness of England’s so called “Enchanted wealth.” 

The first of his examples was the illustration of Workhouse worker’s appearance to a picturesque artist.  At the time, the Workhouse was the result of the “Poor Act” which was induced by the state as a way to calm down and mitigate the revolting nature of the majority, the poverty class.  However, England’s greed to keep this charitable service from being a luxury for the “deters,” it was mandated that the Workhouses be regulated to be as “unpleasant as possible” (744 caption 3).  As a result, even this heaven for the poor turned into a “Poor-law Prison.”  And this is evident from the nature of its inhabitants as Carlyle portrays an analogy of the scene to Dante’s Hell behind the eyes of the Tourist:

“An Earth all lying round, crying, Come and till me, come and reap me;--yet we here sit enchanted!  In the eyes and brows of these men hung the gloomiest expression, not of anger, but of grief and shame and manifold inarticulate distress and weariness” (478).

The crisis state of the nation is further amplified as Carlyle addresses the sin that erupts from a poverty and hungry society in his example of the Father and Mother’s inevitable scandal to relieve their selves of starvation and release their children’s misery of hunger (479).  It’s not that they are evil, but rather their unlivable conditions “hints” and teases them daily until they submit to their inevitable animalistic instincts, and that is to do what it takes to survive.

Like the poor, the rich is no richer in the sense of transcendental values.  Contrastingly, Carlyle depicts the corruption and ill nature of the aristocrats and their sinful behaviors.  Even though they enjoy their wealth and satisfy their human desires, their physical appearance does not show this.  They “eat finer cookery, drink dearer liquors,” and yet, their stomach proved to be no more “blessed” than the common man.  With rhetorical questions of their happiness, Carlyle directs the reader to believe that they are no “better, beautifuler, stronger, braver … [and] what they call ‘happier’” than the poor (479).  They look “disloyally to one another” while “coercing, bribing, [and] cajoling; ‘doing what [they] like with [their] own’” even though they have more than they can spend or enjoy (479).  Even though they are so close to what they may believe to be happiness, they still cannot grasp the “enchantments” of England.  And they never will.  I think Carlyle used “enchanted” for a reason and that is to show it’s magical or illusive and that it cannot be obtained.  Thus, these materialistic gains will never bring them true happiness.

Climatically, Carlyle concludes that neither the rich nor the poor are in a benevolent state, and that both are suffering from a “Fatal paralysis” of the human soul “towards the heart itself” as if “accursed by some god.”  I believe this whole piece was to warn the people, both rich and poor, that what they believed to be “enchanted” wealth, whether it be the state’s poor laws, nor the rich man’s riches, is only illusive in nature, and that their continual track and greed for materialistic gains will lead to their downfall as did King Midas and his wish for the touch of gold (Carlyle’s final analogy of man’s greed to show the consequence of materialistic gains and their fatal byproduct). “We have more riches than any Nation ever had before; we have less good of them than any Nation ever had before.”  (480)

An interpretation of “The Steam Loom Weaver”

“The Steam Loom Weaver” appears to be as a humorous parody of the normal early industrial revolution age love couple.  Instead of illustrative references to beautiful landscapes and captivating and romantic scenes, the setting is portrayed through a love couple’s quarrel in a cotton loom factory.   Curious, I searched online for the author to learn a little more background, but to my surprise, the author was anonymous.  This is probably why the short introduction referenced this piece as a common poor man’s read during the time that was bought for “a penny or less.”  This type of attitude towards the industrial age must have been very common since it was spread widely to the “urban poor” for leisure reading.  So what does the common poor think of the industrial Age?  “The Steam Loom Weaver” may give us one of many opinions at the time.

Reading this piece, we can get a feel that the life of the industrial age “bloom” is very fast paced and mechanical.  However, this is done in a very indirect and somewhat ironic manner.  Instead of references to machinery and time, the author makes use of how an agrarian couple would normally converse.  If I was entitled to rename this poem, I would call it “The Allegory of the Steam Loom Weaver,” since this poem does a good job at conveying the typical factory work age in disguise of a walk through nature.   Starting the poem with “the birds did sing” already sets the reader off in a different direction than what was intended.  As the story continues of the couple’s conversation of their work, we have a mock of farming with the verse “She said my loom is out of fettle” as a farmer’s soil needs fertile.  In addition, we would not “muster up the steam.”  It’s noticeable that the author is making fun of the industrial revolution and its ugliness.  Instead of a beautiful garden or a romantic setting, the lover’s flirt under the fast paced (“work away without delay”).  Instead of flowers and gifts, the man satisfies the woman’s desires with steam, “pair[s] of picker[s],” and a “shuttle.”  The last stanza is also strange in that the man works “amain,” which means forcefully or very hard in response to her letting him enter the “loom shop.”  With some research, I picked up that it may have been a reference to sexual humor in that the man is very excited and working hard towards his reward.  (What’s even funnier is that Googling “The Steam Loom Weaver” brings me to Dr. Glance’s last year’s student’s blog of this class:  http://jennyenglish264.blogspot.com/2008/06/steam-loom-weaverthis-poem-was-poking.html)  And I must admit, I had some helpful insight from this blog and the introductory paragraph.

(Quotes from P. 489 of the text)

William Blake's "The Lamb" and "The Tyger"

It became clear to me after hearing podcast #4 and reading "The Tyger" that Blake's message was different than my original interpretation to my previous post "Blake's 'The Lamb.'"  At a glance, the “Tyger” seems what to be a duality poem that was meant to be read aside of the “The Lamb.”  This is evident as one read’s the 20^th verse “Did he who made the Lamb make thee?”  This verse also indicates the climatic question of these two poems, and that is whether the same God who made the beautiful, “tender”, “soft,” and bright lamb also made the evil, fiery, and fearful tiger (p. 79, 88, 89 of text).  Although in “The Lamb,” the question of the creator is answered, “The Tyger” left us in contemplation with its rhetorical questions.  This asymmetry shows the imbalance between Blake’s focus on the evil over the good.  This theme was a common reoccurring unorthodox trait of Blake in that he specifically focuses more on the dark and imperfect side of things.  If we compare the number of verse between these two poems based on contemplative questions and the analogy of the animals to the good or bad properties, we can conclude that Blake spent more time and focus on “The Tyger.”  And I think Blake did this on purpose to make his work stand out from the teachings of the Church and other authors at the time.  It’s a brilliant method for evil stands out more at the time where everyone in the Church was focusing on the Good, although there was much corruption.

In addition to these ideas, “The Tiger” is very representative of Blake’s work as he uses analogies of animals to symbolize the two sides of nature, the Good and the Bad.  This poem uses very powerful onomatopoeia  (“burning bright,” “seize the fire,” “beat,” “feet,” “dread grasp,” “terrors clasp!,”) to make the reader feel the power, dark, and angry presence of the beast (p. 89 of text).  This not only makes the poem more interesting to read, but also amplifies the story to be representative of what he is trying to portray.  Unlike Innocence where the choice of words is more calm and easy going, Experience stories uses more forceful and powerful words to show the nature of Evil.  This is apparent as we compare “The Lamb” and “The Tyger.”

I feel that a lot more meaning to Blake’s work will unfold as you read all his pieces more thoroughly.  This may be required to piece together a bigger message that he is trying to portray in his works.  It’s as if his works is a jigsaw puzzle.

William Blake's "The Lamb"

In this reading, I decided to try interpreting the text independent of outside sources. Thus, the interpretations may be quite far from what is intended. However, one of the most interesting things about artistic works is how it represents and portrays different meanings and ideas to different audiences. It is always interesting for me to see how the audience is affected by a piece of work, given no previous knowledge or background of the author or work. That's one of the beauties of some artistic pieces. Fortunately, I was able to gain some personal insights after reading "The Lamb" by William Blake.

In this text, I personally liked how the actual "illuminated painting" was provided for observation. It allowed me to not only read, but also see the visual message that Blake wanted the reader to see to accommodate his words.

Reading "The Lamb" makes me feel as if the main character (the child) exists in some sort of paradise. Not necessarily heaven, but rather somewhere peaceful and serene. The questioning of the child towards the lambs and his "natural nakedness" is Blake's illustration of the "innocence" theme. The simplicity of the verses and their echoing repetition and rhymes gives me an impression of a song or possibly a lullaby that one would sing a child to sleep. I also notice how the scenery gives a natural absence of darkness to gear the setting more towards something more pleasurable to experience. Words such as "stream," "mead," "delight," and "bright" all amplify the light and positive aura of the setting.

When I read the first half of this poem, I get the feeling that Blake may be reminiscing about a mother-like figure. This figure seems to be someone who has cared for him and nurtured him with the pleasant and warm atmosphere required for survival and healing, which also includes the food ("feed") and clothing ("softest clothing"), the sunshine, earth, and water (mother nature). Reading this makes me feel thankful for my mother and the one I love dearest to me, who is always gentle and patient with all my impurities. It also reminds me that nature is a great cleanser of these impurities, a place for reflection, thought, and improvement. I somehow feel that Blake acknowledge his state of mental and spiritual health to the "Lamb" character in his poem. I think that for everyone, this character may exists for them as someone or something different (assuming they don't read the next half of the verses, since the character is then revealed).

The first half of the verses are a stream of questions, while the second, contrastingly, is a stream of answers by the child who represents Blake himself. An important observation is how in the first half of the poem, the symbolism of innocence, which was originally represented by the child (who questions the lambs and ponders who created them), is now transferred to the lambs. Although the lamb is ignorant, it still has an intrinsic sense and understanding of what is pleasurable and delight. I get the impression that to Blake, it is not the place that defines heaven, but rather these feelings itself, the mental state.

As we move on to the second half of the verses, Christ is revealed as Blake references his alias as the "Lamb." Of particular importance is the gradual connection between the child and the image of Christ as he "became a child... I am a child." Blake wants to tell the audience that the same positive qualities in Christ is naturally in us (the child and the lambs) since we was nurtured by him. This is apparent as he gives Christ, the Lambs, and himself (the child) the same name. Like Christ we also have a "meek & mild" side. Like him, we are all blessed.

I also noticed something interesting, although subtle. I feel like there is a sense of equality among the child and the Lamb, and thus implicitly between us (humans) and Him (Christ/God). Blake's "The Lamb" verses 14-19 illustrates this concept:

For he calls himself a Lamb:
He is meek & he is mild,
He became a little child:
I a child & thou a lamb,
We are called by his name.

Here, I believe the "name" of "Lamb" represents the intrinsic good qualities that exists in everything as oppose to the literal meaning of the word. How can the lamb and the child be called by the same name unless we are of equal value or quality. Notice that we have transitioned from "he call[ing] himself a Lamb" to "We are called by his name. At some point in time, we can possibly attain a state at which we are like the "Lamb" and become worthy enough to be entitled the same name as the "Lamb." Is it not the bible that stated that man was created in God's image? In Blake's portrayal, I believe it is the mental image of Christ that he sees in us that defines who we are in terms of heaven or hell.

Analyzing the poem without the help of external sources was an interesting experience for me. Although the interpretations may sometimes be far-fetched or even wrong, It allowed me to stretch my imagination and think "outside of the box" to come up with different meanings of the text that may never have been thought of. Although analyzing the text this way may delineate me from understanding the author and his intended message, I feel that I begin to understand myself better as these ideas and realizations came about from within myself and are unique from any other interpretation.