Abstract
Abstract Strong verbal ascriptions generally sustain the force of dramatic poetry but in Hardy's work verbs are often weak and passive. The force of his poetry is mainly sustained by sensation, emotion and movements between the two: verbs which may be used to denote a strong and confident verbal communication are less frequently used in Hardy who prefers whisper, mutter, drone, regret, turn and sigh for those who desperately try to disperse the clouds of confusion that seem to surround the world they are thrust into — the world into which readers are invited through the gateways of verbs chosen by the poet.
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