THE SHORT OXFORD HISTORY OF ENGLISH LITERATURE

The mood is not simply nostalgic. Love-making is interrupted by suicide, by murder, by death in battle, even by public
execution (which is dwelt on in some detail). The generally heterosexual reference is shot through with a sublimated,
but none the less fatalistic, homoeroticism which appears to render all emotional or sexual commitment unfulfilled,
elusive, or ambiguous. In the extraordinary lyric 47 a male lover, ‘the carpenter’s son’, dies on the gallows, he says,
‘for love’. But this is no Christ. He dies futilely, advising other ‘lads’ and ‘comrades’ to adopt a ‘shrewdness’ in love.
In lyric 42 a tempting, alluring ‘merry guide’, the embodiment of the pagan Hermes, leads the narrator onward ‘with
lips that brim with laughter’, through a changing landscape. But he never responds. Housman, a Professor of Classics
at London University, rusticizes and Anglicizes both his subjects and his sources, allotting a bucolic English voice to
the Roman poet Terence (a voice ‘friending’ us ‘in a dark and cloudy day’) and translating Horace’s celebrated
Diffugere nives (‘the snows are fled away’) with a sad closing reference to the ‘love of comrades’.
Charlotte Mew (1869-1928) was also troubled by images of unfulfilment, death, and burial. Mew’s allusive short
stories, the first of which appeared in 1894 in one of the celebrated 1890s anthologies, The Yellow Book, deal with
defeat and with unrequited, but not always sexual, love. Her two volumes of verse which appeared in 1916 and 1929
suggest a new variety of perception and expression, much of it self consciously impressionistic. As in the short stories,
[p. 493]
Mew’s narrators are both male and female. The striking title poem of the first volume, The Farmer’s Bride, has a
rustic male speaker who incomprehendingly describes the failure of his marriage and the withdrawal of his bride into
herself (the idea of mental aberration recurs in the poems ‘Ken’ and ‘On the Asylum Road’). In other poems religion
is both suspected and embraced, the need for a response to God in ‘Madeleine in Church’ being conditioned by a
passionate exaltation of the transitory beauty of the world and of worldly things. The influence of Emily Brontë (on
whose verse Mew published an essay in 1904), and of Christina Rossetti, is subtly transmuted both in her overtly
religious lyrics and in those poems which suggest an elusive love or amatory betrayal.
The one major writer of an older generation whose poetry seemed to chart quite new territory in the opening years
of the twentieth century was Thomas Hardy. Having ostensibly abandoned fiction after the public furore over Jude the
Obscure, Hardy gave the impression of embarking on a new career as a prolific poet (his first volume appeared in
1898; his last in the year before his death). It would seem likely, however, that many of the poems in his first volume
had been written much earlier. The agnosticism which so marks his novels takes on a new shaping power in the
poetry, but the awkwardness, the strain, the conflicting perceptions and arguments, and the plethora of information in
the late fiction are all controlled and disciplined within the succinct and varied verse forms that Hardy evolved. In the
poem with which he nervously greeted the new century, ‘The Darkling Thrush’, landscape has its old impersonality,
but it is shot through with suggestive hints of a strange anthropomorphism. ‘Every spirit upon earth’ seems to share a
lack of fervour with the speaker. It is the lustily singing thrush that stirs spirits amid the ‘growing gloom’:
So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessed Hope, whereof he knew
And I was unaware.
The ‘I’ is left unaware, no longer dictating, undermining, or reinforcing impressions or interpretations. Hardy’s
poetry moves away from what in the fiction had seemed the pressing need to be literal or to offer explanation.
Much of the poetry in the early volumes recalls images, scenes, or incidents from a personal past and an
immediate history which touches other histories, geographic, geological, architectural, and demographic. Love
recalled is love lost, sometimes deliberately, sometimes perversely, and perception is frequently accompanied by a
process of disillusion. Lovers meet ecstatically and part in misunderstanding or are sundered by incomprehending
time. A
[p. 494]
great deal of critical and biographical attention has been focused on the elegiac poems of the period 1912-13
published in Satires of Circumstance, Lyrics and Reveries (1914). These poems in part celebrate, and in part expiate,
the memory of the poet’s first wife, Emma. Despite the volume’s title (which embraces some earlier poems also
published in it) the poetry of this period tends to reject the ‘satiric’ mode which Hardy himself acknowledged to be