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190930r20182009enk go 000 0 eng |
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|a 10.4324/9781315833880
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|a (OCoLC)tfe1140132148
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|a (OCoLC)1140132148
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|a tfe9781315833880
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|a UKMGB
|b eng
|c UKMGB
|d OCLCO
|d OCLCF
|d UAB
|d ZCU
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|a GWRE
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|a PR4741
|b .H373 2018
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|c Cyrl
|c (N
|c (S
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| 100 |
1 |
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|a Hardy, Thomas,
|d 1840-1928,
|e author.
|0 http://id.loc.gov/authorities/names/n79046230
|1 http://isni.org/isni/0000000121333830.
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| 240 |
1 |
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|a Poems.
|k Selections
|0 http://id.loc.gov/authorities/names/n82022999.
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| 245 |
1 |
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|a Thomas Hardy :
|b selected poems /
|c edited by Tim Armstrong.
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| 250 |
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|a Second edition.
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| 264 |
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|a London :
|b Routledge,
|c [2018?]
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| 264 |
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|c ©2009.
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| 300 |
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|a 1 online resource (392 pages)
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| 336 |
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|a text
|b txt
|2 rdacontent.
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| 337 |
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|a computer
|b c
|2 rdamedia.
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| 338 |
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|a online resource
|b cr
|2 rdacarrier.
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| 490 |
1 |
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|a Longman annotated texts.
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| 500 |
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|a Originally published in print: Harlow : Pearson Longman, 2009.
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| 600 |
1 |
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|a Hardy, Thomas,
|d 1840-1928
|x Criticism and interpretation.
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| 650 |
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0 |
|a English poetry
|y 19th century.
|0 http://id.loc.gov/authorities/subjects/sh85043937.
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| 600 |
1 |
7 |
|a Hardy, Thomas,
|d 1840-1928.
|2 fast
|0 (OCoLC)fst00034596.
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| 650 |
|
7 |
|a English poetry.
|2 fast
|0 (OCoLC)fst00912278.
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| 655 |
|
7 |
|a Criticism, interpretation, etc.
|2 fast
|0 (OCoLC)fst01411635.
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| 700 |
1 |
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|a Armstrong, Tim,
|d 1956-
|e editor.
|0 http://id.loc.gov/authorities/names/n92116523
|1 http://isni.org/isni/0000000110844264.
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| 830 |
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|a Longman annotated texts.
|0 http://id.loc.gov/authorities/names/n91035121.
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| 856 |
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|u https://colorado.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9781315833880
|z Full Text (via Taylor & Francis)
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| 880 |
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|6 505-00
|a <P>Contents</P><P> </P><P><B>Acknowledgements</B></P><P><B>List of abbreviations</B></P><P><B>Chronology</B></P><P><B> </B></P><P><B>Introduction</B></P><P><B> </B></P><P><B>Hardy#x92;s #x91;second#x92; career</B></P><P>Turning to poetry</P><P>Poetry as posthumous vision</P><P>Necessity and free will</P><P>Typology and the pattern of a life</P><P><B>Sequences and patterns</B></P><P>God and history</P><P>Hardy and the dead</P><P>The #x91;Poems of 1912-13#x92;</P><P>Restoration and the past</P><P>Wessex</P><P><B>Hardy#x92;s style</B></P><P>The Gothic art-principle</P><P>Words</P><P>Prosody</P><P><B>Hardy and literary tradition</B></P><P>Selecting Hardy</P><P>A note on the annotations</P><P> </P><P><B>A note on the text</B></P><P><B> </B></P><P><B>The Poems</B></P><P><B>From <I>Wessex</I><I> Poems and Other Verses </I>(1898)</B></P><OL><LI>The temporary the All<B></B></LI><LI>Hap<B></B></LI><LI>Neutral Tones<B></B></LI><LI>The Peasant#x92;s Confession<B></B></LI><LI>A Sign-Seeker<B></B></LI><LI>Friends Beyond<B></B></LI><LI>Thoughts of Phena<B></B></LI><LI>Nature#x92;s Questioning<B></B></LI><LI>In a Eweleaze near Weatherbury<B></B></LI><LI>#x91;I look into my glass#x92;<B></B></LI></OL><P> </P><P><B>From <I>Poems of the Past and the Present </I>(1901)<I></I></B></P><OL><LI>V.R. 1819-1901</LI><LI>Drummer Hodge</LI><LI>The Souls of Slain</LI><LI>Rome: Building a New Street in the Ancient Quarter</LI><LI>Rome: At the Pyramid of Cestius near the Graves of Shelley and Keats</LI><LI>A Commonplace Day</LI><LI>To an Unborn Pauper Child</LI><LI>Her Reproach</LI><LI>His Immortality</LI><LI>Winter in Durnover Field</LI><LI>The Darkling Thrush</LI><LI>The Respectable Burgher on #x91;The Higher Criticism#x92;</LI><LI>The Self-Unseeing</LI><LI>In Tenebris I</LI><LI>In Tenebris II</LI><LI>In Tenebris III</LI><LI>Tess#x92;s Lament</LI><LI>Sapphic Fragment</LI><LI>#x92;AΓΝΩΣΤΩӨЕΩ</LI></OL><P><B> </B></P><P><B>From <I>Time#x92;s Laughingstocks and Other Verses </I>(1909)</B></P><OL><LI>The Revisitation<B></B></LI><LI>A Trampwoman#x92;s Tragedy<B></B></LI><LI>In the Mind#x92;s Eye<B></B></LI><LI>He Abjures Love<B></B></LI><LI>Let Me Enjoy<B></B></LI><LI>Julie-Jane<B></B></LI><LI>The Dead Quire<B></B></LI><LI>Night in the Old Home<B></B></LI><LI>After the Last Breath<B></B></LI><LI>One We Knew<B></B></LI><LI>George Meredith, 1828-1909<B></B></LI><LI>Yell#x92;ham Wood#x92;s Story<B></B></LI><LI>A Young Man#x92;s Epigram on Existence<B></B></LI></OL><P> </P><P><B>From <I>Satires of Circumstance, Lyrics and Reveries </I>(1914)</B></P><OL><LI>In Front of Landscape<B></B></LI><LI>Channel Firing<B></B></LI><LI>The Convergence of Twain<B></B></LI><LI>#x91;When I set out for Lyonnesse#x92;<B></B></LI><LI>Wessex Heights<B></B></LI><LI>A Singer Asleep<B></B></LI><LI>Self-Unconscious<B></B></LI><LI>Under the Waterfall<B></B></LI></OL><P> </P><P><B>#x91;Poems of 1912-13#x92;</B></P><OL><LI>The Going</LI><LI>Your Last Drive</LI><LI>The Walk</LI><LI>Rain on a Grave</LI><LI>#x91;I found her out there#x92;</LI><LI>Without Ceremony</LI><LI>Lament</LI><LI>The Haunt</LI><LI>The Voice</LI><LI>His Visitor</LI><LI>A Circular</LI><LI>A Dream or No</LI><LI>After a Journey</LI><LI>A Death-Day Recalled</LI><LI>Beeny Cliff</LI><LI>At Castle Boterel</LI><LI>Places</LI><LI>The Phantom Horsewoman</LI><LI>The Spell of Rose</LI><LI>St Launce#x92;s Revisited</LI><LI>Where the Picnic Was</LI><LI>The Obliterate Tomb</LI><LI>The Workbox</LI><LI>Exeunt Omnes</LI><LI>A Poet</LI><LI>In the Cemetery</LI></OL><P> </P><P><B>From <I>Moments of Vision and Miscellaneous Verses </I>(1917)</B></P><OL><LI>Moments of Vision<B></B></LI><LI>The Voice of Things<B></B></LI><LI>Apostrophes to an Old Psalm Tune<B></B></LI><LI>At the Word #x91;Farewell#x92;<B></B></LI><LI>Heredity<B></B></LI><LI>Near Laniet, 1872<B></B></LI><LI>Copying Architecture in an Old Minster<B></B></LI><LI>To Shakespeare<B></B></LI><LI>Quid Hic Agis<B></B></LI><LI>On a Midsummer Eve<B></B></LI><LI>The Blinded Bird<B></B></LI><LI>The Statue of Liberty<B></B></LI><LI>The Change<B></B></LI><LI>Lines to a Movement in Mozart#x92;s E-Flat Symphony</LI><LI>The Pedigree</LI><LI>His Heart: A Woman#x92;s Dream</LI><LI>The Oxen</LI><LI>The Photograph</LI><LI>The Last Signal</LI><LI>The Figure in the Scene</LI><LI>Overlooking the River Stour</LI><LI>The Musical Box</LI><LI>Old Furniture</LI><LI>The Five Students</LI><LI>The Wind#x92;s Prophecy</LI><LI>During Wind and Rain</LI><LI>A Backward Spring</LI><LI>He Revisits His First School</LI><LI>#x91;I thought, my heart#x92;</LI><LI>The Shadow on the Stone</LI><LI>#x91;For Life I had never cared greatly#x92;</LI><LI>The Pity of It</LI><LI>In Time of #x91;The Breaking of Nations#x92;</LI><LI>A New Year#x92;s Eve in War Time</LI><LI>#x91;I looked up from my writing#x92;</LI><LI>Afterwards</LI></OL><P> </P><P><B>From <I>Late Lyrics and Earlier </I>(1922)</B></P><OL><LI>Weathers<B></B></LI><LI>#x91;According to the Might Working#x92;<B></B></LI><LI>The Contretemps<B></B></LI><LI>#x91;And There Was a Great Calm#x92;<B></B></LI><LI>The Selfsame Song<B></B></LI><LI>At Lulworth Cove a Century Back<B></B></LI><LI>The Collector Cleans His Picture<B></B></LI><LI>On the Tune Called the Old-Hundred-and-fourth<B></B></LI><LI>Voices from Things Growing in a Churchyard<B></B></LI><LI>After a Romantic Day<B></B></LI><LI>In the Small Hours<B></B></LI><LI>Last Words to a Dumb Friend<B></B></LI><LI>A Drizzling Easter Morning<B></B></LI><LI>#x91;I was the midmost#x92;<B></B></LI><LI>The Inscription<B></B></LI><LI>The Whitewashed Wall<B></B></LI><LI>After Reading Psalms XXXIX, XL, etc.<B></B></LI><LI>Surview<B></B></LI></OL><P> </P><P><B>From <I>Human Shows, Far Phantasies, Songs and Trifles </I>(1925)</B></P><OL><LI>Waiting Both<B></B></LI><LI>A Bird-Scene at a Rural Dwelling<B></B></LI><LI>In a Former Resort after Many Years<B></B></LI><LI>A Cathedral Façade<B> </B>at Midnight<B></B></LI><LI>The Monument-Maker<B></B></LI><LI>The Later Autumn<B></B></LI><LI>An East-End Curate<B></B></LI><LI>Sine Prole<B></B></LI><LI>A Shee.
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