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The Return of the Native de Thomas Hardy

The Return of the Native

Autor Thomas Hardy
en Limba Engleză Paperback

Subliniem, încă de la primele pagini, o structură narativă riguroasă, în care unitatea de timp și spațiu — un an și o zi pe întinderile pustii din Egdon Heath — conferă romanului o intensitate aproape teatrală. „The Return of the Native” marchează o etapă crucială în evoluția autorului, fiind lucrarea care cristalizează viziunea sa tragică asupra existenței. Spre deosebire de tonul mai optimist din Under the Greenwood Tree, aici notăm cu interes o explorare a conflictului dintre aspirațiile individuale și determinismul mediului social. Forța narativă a lui Thomas Hardy combinată cu sensibilitatea psihologică a unei Anne Brontë în The Tenant of Wildfell Hall oferă o perspectivă unică asupra condiției umane, dar cu un glas propriu, marcat de melancolia peisajului englez. Apreciem modul în care această ediție Wordsworth Classics este organizată, incluzând nu doar textul original din 1878, ci și hărți detaliate ale regiunii Wessex și reacții critice contemporane care plasează opera într-un context istoric viu. Dacă în Far From the Madding Crowd natura părea uneori un aliat, în acest roman Egdon Heath devine un personaj în sine, o forță implacabilă care dictează destinele celor care încearcă să o îmblânzească sau să o părăsească. Este o lucrare de maturitate care pregătește terenul pentru marile tragedii de mai târziu, precum Tess of the D'Urbervilles sau Jude the Obscure.

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Specificații

ISBN-13: 9781497387874
ISBN-10: 1497387876
Pagini: 174
Dimensiuni: 152 x 229 x 9 mm
Greutate: 0.24 kg
Editura: CREATESPACE

De ce să citești această carte

Recomandăm acest roman cititorilor care caută o proză densă, de o frumusețe austeră, unde peisajul este la fel de viu ca personajele. Veți câștiga o înțelegere profundă a tragediei victoriene, explorând teme precum exilul interior și ciocnirea dintre tradiție și modernitate. Este o lectură esențială pentru a înțelege de ce Virginia Woolf l-a numit pe Hardy cel mai mare scriitor tragic al literaturii engleze.

Despre autor

Thomas Hardy (1840–1928) a fost un romancier și poet englez de o importanță fundamentală, reprezentant al realismului victorian influențat de romantism. Deși s-a considerat în primă instanță poet, a atins celebritatea prin romanele sale plasate în regiunea semi-ficțională Wessex, precum The Mayor of Casterbridge și Tess of the D'Urbervilles. Opera sa este adesea critică la adresa societății victoriene, concentrându-se pe declinul comunităților rurale și pe luptele personajelor împotriva pasiunilor proprii și a circumstanțelor sociale rigide. Stilul său combină observația socială metodică cu o viziune filozofică profundă asupra sorții.

Descriere scurtă

Among Hardy's mots famous and well-known works, The Return of the Native is widely considered a classic and should be read by all.

Textul de pe ultima copertă

Leak and savage, Egdon Heath seems to breathe darkness and it claws back those who rise above it. Against this background Hardy's players come together, weaving a web of deceit and death.

Notă biografică

Thomas Hardy, whose writing immortalized the Wessex countryside and dramatized his sense of the inevitable tragedy of life, was born at Upper Bockhampton, near Stinsford in Dorset in 1840, the eldest child of a prosperous stonemason. As a youth he trained as an architect and in 1862 obtained a post in London. During his time he began seriously to write poetry, which remained his first literary love and his last. In 1867-68, his first novel was refused publication, but Under the Greenwood Tree (1872), his first Wessex novel, did well enough to convince him to continue writing. In 1874, Far from the Maddening Crowd, published serially and anonymously in the Cornhill Magazine, became a great success. Hardy married Emma Gifford in 1878, and in 1885 they settled at Max Gate in Dorchester, where he lived the rest of his life. There he had wrote The Return of the Native (1878), The Mayor of Casterbridge (1886), Tess of the d’Urbervilles (1891), and Jude the Obscure (1895).

With Tess, Hardy clashed with the expectations of his audience; a storm of abuse broke over the “infidelity” and “obscenity” of this great novel he had subtitled “A Pure Woman Faithfully Presented.” Jude the Obscure aroused even greater indignation and was denounced as pornography. Hardy’s disgust at the reaction to Jude led him to announce in 1869 that he would never write fiction ever again. He published Wessex Poems in 1898, Poems of the Past and Present in 1901, and from 1903 to 1908, The Dynast, a huge drama in which Hardy’s conception of the Immanent Will, implicit in the tragic novels, is most clearly stated.

In 1912 Hardy’s wife, Emma died. The marriage was childless and had been a troubled one, but in the years after her death, Hardy memorialized her in several poems. At seventy-four he married his longtime secretary, Florence Dugdale, herself a writer of children’s books and articles, with whom he live happily until his death in 1928. His heart was buried in the Wessex Countryside; his ashes were placed next to Charles Dickens’s in the Poet’s Corner of Westminster Abbey.

Extras

A SATURDAY afternoon in November was approaching the time of twilight, and the vast tract of unenclosed wild known as Egdon Heath embrowned itself moment by moment. Overhead the hollow stretch of whitish cloud shutting out the sky was as a tent which had the whole heath for its floor.

The heaven being spread with this pallid screen and the earth with the darkest vegetation, their meeting-line at the horizon was clearly marked. In such contrast the heath wore the appearance of an instalment of night which had taken up its place before its astronomical hour was come: darkness had to a great extent arrived hereon, while day stood distinct in the sky. Looking upwards, a furze-cutter would have been inclined to continue work; looking down, he would have decided to finish his faggot and go home. The distant rims of the world and of the firmament seemed to be a division in time no less than a division in matter. The face of the heath by its mere complexion added half an hour to evening; it could in like manner retard the dawn, sadden noon, anticipate the frowning of storms scarcely generated, and intensify the opacity of a moonless midnight to a cause of shaking dread.

In fact, precisely at this transitional point of its nightly roll into darkness the great and particular glory of the Egdon waste began, and nobody could be said to understand the heath who had not been there at such a time. It could best be felt when it could not clearly be seen, its complete effect and explanation lying in this and the succeeding hours before the next dawn: then, and only then, did it tell its true tale. The spot was, indeed, a near relation of night, and when night showed itself an apparent tendency to gravitate together could be perceived in its shades and the scene. The sombre stretch of rounds and hollows seemed to rise and meet the evening gloom in pure sympathy, the heath exhaling darkness as rapidly as the heavens precipitated it. And so the obscurity in the air and the obscurity in the land closed together in a black fraternization towards which each advanced half-way.

The place became full of a watchful intentness now; for when other things sank brooding to sleep the heath appeared slowly to awake and listen. Every night its Titanic form seemed to await something; but it had waited thus, unmoved, during so many centuries, through the crises of so many things, that it could only be imagined to await one last crisis—the final overthrow.

Recenzii

The Return of the Native was a radical departure for Thomas Hardy, ushering in his tragic literary vision of the world. Though set in a small space (Egdon Heath in the fictional county of Wessex) and short time (the main action spans a year and a day), the novel addresses the broad social and intellectual upheavals of the Victorian age. Much of this turmoil is embodied in the character of Eustacia Vye, the novel’s wilful female protagonist. A complex, independent young woman, Eustacia is a sympathetic but ultimately tragic figure, the epitome of what the narrator calls the “irrepressible New.”
The appendices to this Broadview edition place the novel in the context of Hardy’s career and the scientific and social ideas of the time. Documents include contemporary reviews, related writings by Hardy, and materials on biology, geology, and the “Woman Question.” Illustrations from the original serialization in Belgravia magazine and Hardy’s performance text of the mummers’ play are also included.

“Simon Avery’s edition of The Return of the Native, Hardy’s first great classic, provides a beautifully balanced, meticulously researched resource. Avery’s editorial approach is, in every respect, new and fresh—even in his interpretation of the novel’s denouement. Offering a wide range of critical perspectives, the compelling Introduction features a rich collection of viewpoints and critiques in a manner so informative, compact, and stylish that exploration becomes the modus operandi within and beyond the plot. In turn, the appendices at the end of the book complement the contextualising of the Introduction and footnotes. A selection of Hardy’s other writings in prose and poetry adds textual weight and structural balance overall.” — Rosemarie Morgan, University of St. Andrews
“Simon Avery has edited Hardy’s The Return of the Native with great skill: his footnotes are detailed and extensive without becoming intrusive; his bibliography of further reading selects judiciously from old and new materials; and he gives a generous range of contemporary materials to help contextualise the book. Alongside the unmistakable nineteenth-century concerns present in Hardy’s novel, Avery alerts us to less well-known ones, illuminating in particular Hardy’s depiction of Eustacia Vye, who can be seen from this edition as a precursor to Sue Bridehead, the proto-feminist of Jude the Obscure. Distinctively too, Avery includes a selection of Hardy’s poetry, helpfully breaking down the barrier between Hardy the novelist and Hardy the poet. In all respects, the volume continues the excellent standard of Broadview Hardy editions.” — Ralph Pite, Bristol University

Descriere

Descriere de la o altă ediție sau format:
The Return of the Native was a radical departure for Thomas Hardy, ushering in his tragic literary vision of the world. Though set in a small space (Egdon Heath in the fictional county of Wessex) and short time (the main action spans a year and a day), the novel addresses the broad social and intellectual upheavals of the Victorian age. Much of this turmoil is embodied in the character of Eustacia Vye, the novel’s wilful female protagonist. A complex, independent young woman, Eustacia is a sympathetic but ultimately tragic figure, the epitome of what the narrator calls the “irrepressible New.”
The appendices to this Broadview edition place the novel in the context of Hardy’s career and the scientific and social ideas of the time. Documents include contemporary reviews, related writings by Hardy, and materials on biology, geology, and the “Woman Question.” Illustrations from the original serialization in Belgravia magazine and Hardy’s performance text of the mummers’ play are also included.

Cuprins

Preface

Book One—The Three Women

I. A Face on Which Time Makes but

Little Impression 15

II. Humanity Appears upon the Scene,

Hand in Hand with Trouble 19

III. The Custom of the Country 25

IV. The Halt on the Turnpike Road 46

V. Perplexity among Honest People 51

VI. The Figure against the Sky 63

VII. Queen of Night 77

VIII. Those Who Are Found Where There

Is Said to Be Nobody 84

IX. Love Leads a Shrewd Man into Strategy 90

X. A Desperate Attempt at Persuasion 100

XI. The Dishonesty of an Honest Woman 109


Book Two—The Arrival

I. Tidings of the Comer 121

II. The People at Blooms-End

Make Ready 126

III. How a Little Sound Produced

a Great Dream 131

IV. Eustacia Is Led on to an Adventure 136

V. Through the Moonlight 146

VI. The Two Stand Face to Face 153

VII. A Coalition between Beauty

and Oddness 164

VIII. Firmness Is Discovered in a

Gentle Heart 173


Book Three—The Fascination

I. “My Mind to Me a Kingdom Is” 185

II. The New Course Causes

Disappointment 190

III. The First Act in a Timeworn Drama 199

IV. An Hour of Bliss and Many Hours

of Sadness 213

V. Sharp Words Are Spoken, and a

Crisis Ensues 221

VI. Yeobright Goes, and the Breach

Is Complete 228

VII. The Morning and the Evening of a Day 235

VIII. A New Force Disturbs the Current 249


Book Four—The Closed Door

I. The Rencounter by the Pool 259

II. He Is Set upon by Adversities but

He Sings a Song 266

III. She Goes Out to Battle against

Depression 276

IV. Rough Coercion Is Employed 288

V. The Journey across the Heath 295

VI. A Conjuncture, and Its Result upon

the Pedestrian 300

VII. The Tragic Meeting of Two Old Friends 310

VIII.Eustacia Hears of Good Fortune, and

Beholds Evil 318


Book Five—The Discovery

I.“Wherefore Is Light Given to Him

That Is in Misery” 329

II.A Lurid Light Breaks in upon a

Darkened Understanding 337

III.Eustacia Dresses Herself on a Black

Morning 347

IV.The Ministrations of a

Half-forgotten One 355

V. An Old Move Inadvertently Repeated 360

VI.Thomasin Argues with Her Cousin,

and He Writes a Letter 367

VII. The Night of the Sixth of November 374

VIII. Rain, Darkness, and Anxious Wanderers 382

IX.Sights and Sounds Draw the

Wanderers Together 392


Book Six—Aftercourses

I. The Inevitable Movement Onward 405

II.Thomasin Walks in a Green Place

by the Roman Road 414

III.The Serious Discourse of Clym

with His Cousin 418

IV.Cheerfulness Again Asserts Itself

at Blooms-End, and Clym Finds

His Vocation 423