An Alternative to the Architectural Elegy: Hardy's Unhoused Poems of 1912-1913

Abstract

Throughout English poetry one finds examples of poems that are metaphorized as architectural structures, as houses or churches built of solid enough materials to reliably contain ephemeral spirits and ideas. From Chaucer to Heaney, writing of a poetic line has been linked with construction of a sure foundation, use of a carpenter's level, solidity of physical enclosure. As a one-time architect's assistant, Thomas Hardy (1840-1928) was extraordinarily well positioned to make an informed entrance into this genre of architectural poems, and indeed, he embraced architectural theory as an aspect of his poetics. Famously, in The Life of Thomas Hardy, Florence Hardy-or Hardy himself-describes his poetry in terms of gothic building principles: He had fortified himself in his opinion by thinking of analogy of architecture, between which art and that of poetry he had discovered, to use his own words, that there existed a close and curious parallel, each art, unlike some others, having to carry a rational content inside its artistic form.... [H]e carried on into his verse, perhaps unconsciously, Gothic art-principle in which he had been trained. (1) In his poetry, Hardy works to link two art forms in many ways, from publishing (in Wessex Poems) elaborate sketches of buildings alongside his words to writing poems about architects and architecture. However, in his Poems of 1912-1913, elegiac sequence he wrote after death of his first wife Emma, Hardy resists impulse to place his poetry within an architectural frame, not only in subject (nearly all of poems take place out of doors, and those that do not express a certain yearning for escape to unbounded places), but also, as I will argue, in formal components of sequence's poetics. In comparing these poems to Hardy's architectural drawings-particularly his sketches of St. Juliot, church in whose shadow he first met Emma-it becomes clear that, as he goes about elegizing his estranged wife, he takes certain poetic steps to reverse process of architectural construction. Instead, he builds a kind of poetics that take place outside, whose visual components break open, and whose careful symmetries crumble: they are poems that evoke elaborate ruins more than they evoke grand gothic monuments. Astonished by rekindled desire for a woman he once loved and from whom he had grown distant, poet attempts to recapture Emma of his youth, a woman who sought freedom of nature and who had not been changed by confinement of a long, unhappy marriage. If, at first, his poems concentrate on ghost of later Emma, who is ghost of closed quarters and habitation, his poems begin to reach out more toward earlier Emma, a ghost who haunts water, air, and cliffs. In so doing, his poems move away from confined spaces such as houses, rooms, and even graves, rejecting idea of elegy as providing a house for dead. Instead, Poems of 1912-1913 represents a dismantling of poetic structure in order to revive a ghost who insists on freedom of windy spaces in which she, as much as her elegist, can define proportions of her existence. Hardy's elegiac move out of doors is remarkable when one considers history of elegy. In this monumentalizing genre, desire to preserve a passing spirit within a physical, understandable space has often found urgency. In The Life of Poet, Lawrence Lipking describes tombeau tradition, in which poets seek to provide poetic tombs for great writers of past in order to rectify obscurity of unrecognized graves: the tomb of poet is built by other poets; their verses take him in. (2) Not only elegies for great poets, however, seek to conflate poem itself to a physical space in which passing spirits might reside; desire to build a poetic tomb or house for dead appears in elegies for all classes of subject, and space created by poem is often more physically defined than it is in many of Lipking's tombeaux. …