by Thomas Hardy
The degree to which the system of morality, or the metaphysic, of any work of art is submitted to criticism within the work of art makes the lasting value and satisfaction of that work. Aeschylus, having caught the oriental idea of Love, correcting the tremendous Greek conception of the Law with this new idea, produces the intoxicating satisfaction of the Orestean trilogy. The Law, and Love, they are here the Two-in-One in all their magnificence. But Euripides, with his aspiration towards Love, Love the supreme, and his almost hatred of the Law, Law the Triumphant but Base Closer of Doom, is less satisfactory, because of the very fact that he holds Love always Supreme, and yet must endure the chagrin of seeing Love perpetually transgressed and overthrown. So he makes his tragedy: the higher thing eternally pulled down by the lower. And this unfairness in the use of terms, higher and lower, but above all, the unfairness of showing Love always violated and suffering, never supreme and triumphant, makes us disbelieve Euripides in the end. For we have to bring in pity, we must admit that Love is at a fundamental disadvantage before the Law, and cannot therefore ever hold its own. Which is weak philosophy.
If Aeschylus has a metaphysic to his art, this metaphysic is that Love and Law are Two, eternally in conflict, and eternally being reconciled. This is the tragic significance of Aeschylus.
But the metaphysic of Euripides is that the Law and Love are two eternally in conflict, and unequally matched, so that Love must always be borne down. In Love a man shall only suffer. There is also a Reconciliation, otherwise Euripides were not so great. But there is always the unfair matching, this disposition insisted on, which at last leaves one cold and unbelieving.
The moments of pure satisfaction come in the choruses, in the pure lyrics, when Love is put into true relations with the Law, apart from knowledge, transcending knowledge, transcending the metaphysic, where the aspiration to Love meets the acknowledgment of the Law in a consummate marriage, for the moment.
Where Euripides adheres to his metaphysic, he is unsatisfactory. Where he transcends his metaphysic, he gives that supreme equilibrium wherein we know satisfaction.
The adherence to a metaphysic does not necessarily give artistic form. Indeed the over-strong adherence to a metaphysic usually destroys any possibility of artistic form. Artistic form is a revelation of the two principles of Love and the Law in a state of conflict and yet reconciled: pure motion struggling against and yet reconciled with the Spirit: active force meeting and overcoming and yet not overcoming inertia. It is the conjunction of the two which makes form. And since the two must always meet under fresh conditions, form must always be different. Each work of art has its own form, which has no relation to any other form. When a young painter studies an old master, he studies, not the form, that is an abstraction which does not exist: he studies maybe the method of the old great artist: but he studies chiefly to understand how the old great artist suffered in himself the conflict of Love and Law, and brought them to a reconciliation. Apart from artistic method, it is not Art that the young man is studying, but the State of Soul of the great old artist, so that he, the young artist, may understand his own soul and gain a reconciliation between the aspiration and the resistant.
It is most wonderful in poetry, this sense of conflict contained within a reconciliation:
Hail to thee, blithe Spirit!
Bird thou never wert, That from Heaven, or near it,
Pourest thy full heart In profuse strains of unpremeditated art.
Shelley wishes to say, the skylark is a pure, untrammelled spirit, a pure motion. But the very “Bird thou never wert” admits that the skylark is in very fact a bird, a concrete, momentary thing. If the line ran, “Bird thou never art,” that would spoil it all. Shelley wishes to say, the song is poured out of heaven: but “or near it,” he admits. There is the perfect relation between heaven and earth. And the last line is the tumbling sound of a lark’s singing, the real Two-in-One.
The very adherence to rhyme and regular rhythm is a concession to the Law, a concession to the body, to the being and requirements of the body. They are an admission of the living, positive inertia which is the other half of life, other than the pure will to motion. In this consummation, they are the resistance and response of the Bride in the arms of the Bridegroom. And according as the Bride and Bridegroom come closer together, so is the response and resistance more fine, indistinguishable, so much the more, in this act of consummation, is the movement that of Two-in-One, indistinguishable each from the other, and not the movement of two brought together clumsily.
So that in Swinburne, where almost all is concession to the body, so that the poetry becomes almost a sensation and not an experience or a consummation, justifying Spinoza’s “Amor est titillatio, con- comitante idea causae externae,” we find continual adherence to the body, to the Rose, to the Flesh, the physical in everything, in the sea, in the marshes; there is an overbalance in the favour of Supreme Law; Love is not Love, but passion, part of the Law; there is no Love, there is only Supreme Law. And the poet sings the Supreme Law to gain rebalance in himself, for he hovers always on the edge of death, of Not-Being, he is always out of reach of the Law, bodiless, in the faintness of Love that has triumphed and de nied the Law, in the dread of an over-developed, over-sensitive soul which exists always on the point of dissolution from the body.
But he is not divided against himself. It is the novelists and dramatists who have the hardest task in reconciling their metaphysic, their theory of being and knowing, with their living sense of being. Because a novel is a microcosm, and because man in viewing the universe must view it in the light of a theory, therefore every novel must have the background or the structural skeleton of some theory of being, some metaphysic. But the metaphysic must always subserve the artistic purpose beyond the artist’s conscious aim. Otherwise the novel becomes a treatise.
And the danger is, that a man shall make himself a metaphysic to excuse or cover his own faults or failure. Indeed, a sense of fault or failure is the usual cause of a man’s making himself a metaphysic, to justify himself.
Then, having made himself a metaphysic of self-justification, or a metaphysic of self-denial, the novelist proceeds to apply the world to this, instead of applying this to the world.
Tolstoi is a flagrant example of this. Probably because of profligacy in his youth, because he had disgusted himself in his own flesh, by excess or by prostitution, therefore Tolstoi, in his metaphysic, renounced the flesh altogether, later on, when he had tried and had failed to achieve complete marriage in the flesh. But above all things, Tolstoi was a child of the Law, he belonged to the Father. He had a marvellous sensuous understanding, and very little clarity of mind.
So that, in his metaphysic, he had to deny himself, his own being, in order to escape his own disgust of what he had done to himself, and to escape admission of his own failure.
Which made all the later part of his life a crying falsity and shame. Reading the reminiscences of Tolstoi, one can only feel shame at the way Tolstoi denied all that was great in him, with vehement cowardice. He degraded himself infinitely, he perjured himself far more than did Peter when he denied Christ. Peter repented. But Tolstoi denied the Father, and propagated a great system of his recusancy, elabourating his own weakness, blaspheming his own strength. “What difficulty is there in writing about how an officer fell in love with a married woman?” he used to say of his Anna Karenina; “there’s no difficulty in it, and, above all, no good in it.”
Because he was mouthpiece to the Father in uttering the law of passion, he said there was no difficulty in it, because it came naturally to him. Christ might just as easily have said, there was no difficulty in the Parable of the Sower, and no good in it, either, because it flowed out of him without effort.
And Thomas Hardy’s metaphysic is something like Tolstoi’s. “There is no reconciliation between Love and the Law,” says Hardy. “The spirit of Love must always succumb before the blind, stupid, but overwhelming power of the Law.”
Already as early as The Return of the Native he has come to this theory, in order to explain his own sense of failure. But before that time, from the very start, he has had an overweening theoretic antagonism to the Law. “That which is physical, of the body, is weak, despicable, bad,” he said at the very start. He represented his fleshy heroes as villains, but ver7 weak and maundering villains. At its worst, the Law is a weak, craven sensuality: at its best, it is a passive inertia. It is the gap in the armour, it is the hole in the foundation.
Such a metaphysic is almost silly. If it were not that man is much stronger in feeling than in thought, the Wessex novels would be sheer rubbish, as they are already in parts. The Well-Beloved is sheer rubbish, fatuity, as is a good deal of The Dynasts conception.
But it is not as a metaphysician that one must consider Hardy. He makes a poor show there. For nothing in his work is so pitiable as his clumsy efforts to push events into line with his theory of being, and to make calamity fall on those who represent the principle of Love. He does it exceedingly badly, and owing to this effort his form is execrable in the extreme.
His feeling, his instinct, his sensuous understanding is, however, apart from his metaphysic, very great and deep, deeper than that, perhaps, of any other English novelist. Putting aside his metaphysic, which must always obtrude when he thinks of people, and turning to the earth, to landscape, then he is true to himself.
Always he must start from the earth, from the great source of the Law, and his people move in his landscape almost insignificantly, somewhat like tame animals wandering in the wild. The earth is the manifestation of the Father, of the Creator, Who made us in the Law. God still speaks aloud in His Works, as to Job, so to Hardy, surpassing human conception and the human law. “Dost thou know the balancings of the clouds, the wondrous works of him which is perfect in knowledge? How thy garments are warm, when he quiet- eth the earth by the south wind? Hast thou with him spread out the sky, which is strong?”
This is the true attitude of Hardy — ”With God is terrible majesty.” The theory of knowledge, the metaphysic of the man, is much smaller than the man himself. So with Tolstoi.
“Knowest thou the time when the wild goats of the rock bring forth? Or canst thou mark when the hinds do calve? Canst thou number the months that they fulfil? Or knowest thou the time when they bring forth? They bow themselves, they bring forth their young ones, they cast out their sorrows. Their young ones are good in liking, they grow up with corn; they go forth, and return not unto them.”
There is a good deal of this in Hardy. But in Hardy there is more than the concept of Job, protesting his integrity. Job says in the end: “Therefore have I uttered that I understood not; things too wonderful for me, which I knew not.
“I have heard of thee by hearing of the ear; but now mine eye seeth thee.
“Wherefore I abhor myself, and repent in dust and ashes.”
But Jude ends where Job began, cursing the day and the services of his birth, and in so much cursing the act of the Lord, “Who made him in the womb.”
It is the same cry all through Hardy, this curse upon the birth in the flesh, and this unconscious adherence to the flesh. The instincts, the bodily passions are strong and sudden in all Hardy’s men. They are too strong and sudden. They fling Jude into the arms of Arabella, years after he has known Sue, and against his own will.
For every man comprises male and female in his being, the male always struggling for predominance. A woman likewise consists in male and female, with female predominant.
And a man who is strongly male tends to deny, to refute the female in him. A real “man” takes no heed for his body, which is the more female part of him. He considers himself only as an instrument, to be used in the service of some idea.
The true female, on the other hand, will eternally hold herself superior to any idea, will hold full life in the body to be the real happiness. The male exists in doing, the female in being. The male lives in the satisfaction of some purpose achieved, the female in the satisfaction of some purpose contained.
In Aeschylus, in the Eumenides, there is Apollo, Loxias, the Sun Cod, the prophet, the male: there are the Erinyes, daughters of primeval Mother Night, representing here the female risen in retri bution for some crime against the flesh; and there is Pallas, unbe- gotten daughter of Zeus, who is as the Holy Spirit in the Christian religion, the spirit of wisdom.
Orestes is bidden by the male god, Apollo, to avenge the murder of his father, Agamemnon, by his mother: jhat is, the male, murdered by the female, must be avenged by the male. But Orestes is child of his mother. He is in himself female. So that in himself the conscience, the madness, the violated part of his own self, his own body, drives him to the Furies. On the male side, he is right; on the female, wrong. But peace is given at last by Pallas, the Arbitrator, the spirit of wisdom.
And although Aeschylus in his consciousness makes the Furies hideous, and Apollo supreme, yet, in his own self and in very fact, he makes the Furies wonderful and noble, with their tremendous hymns, and makes Apollo a trivial, sixth-form braggart and ranter. Clytemnestra also, wherever she appears, is wonderful and noble. Her sin is the sin of pride: she was the first to be injured. Agamemnon is a feeble thing beside her.
So Aeschylus adheres still to the Law, to Right, to the Creator who created man in His Own Image, and in His Law. What he has learned of Love, he does not yet quite believe.
Hardy has the same belief in the Law, but in conceipt of his own understanding, which cannot understand the Law, he says that the Law is nothing, a blind confusion.
And in conceipt of understanding, he deprecates and destroys both women and men who would represent the old primeval Law, the great Law of the Womb, the primeval Female principle. The Female shall not exist. Where it appears, it is a criminal tendency, to be stamped out.
This in Manston, Troy, Boldwood, Eustacia, Wildeve, Henchard, Tess, Jude, everybody. The women approved of are not Female in any real sense. They are passive subjects to the male, the re-echo from the male. As in the Christian religion, the Virgin worship is no real Female worship, but worship of the Female as she is passive and subjected to the male. Hence the sadness of Botticelli’s Virgins.
Thus Tess sets out, not as any positive thing, containing all purpose, but as the acquiescent complement to the male. The female in her has become inert. Then Alec d’Urberville comes along, and possesses her. From the man who takes her Tess expects her own consummation, the singling out of herself, the addition of the male complement. She is of an old line, and has the aristocratic quality of respect for the other being. She does not see the other person as an extension of herself, existing in a universe of which she is the centre and pivot. She knows that other people are outside her. Therein she is an aristocrat. And out of this attitude to the other person came her passivity. It is not the same as the passive quality in the other little heroines, such as the girl in The Woodlanders, who is passive because she is small.
Tess is passive out of self-acceptance, a true aristocratic quality, amounting almost to self-indifference. She knows she is herself in- controvertibly, and she knows that other people are not herself. This is a very rare quality, even in a woman. And in a civilization so unequal, it is almost a weakness.
Tess never tries to alter or to change anybody, neither to alter nor to change nor to divert. What another person decides, that is his decision. She respects utterly the other’s right to be. She is herself always.
But the others do not respect her right to be. Alec d’Urberville sees her as the embodied fulfilment of his own desire: something, that is, belonging to him. She cannot, in his conception, exist apart from him nor have any being apart from his being. For she is the embodiment of his desire.
This is very natural and common in men, this attitude to the world. But in Alec d’Urberville it applies only to the woman of his desire. He cares only for her. Such a man adheres to the female like a parasite.
It is a male quality to resolve a purpose
to its fulfilment. It is the male quality, to seek the motive power in the female, and to convey this to a fulfilment; to receive some impulse into his senses, and to transmit it into expression.
Alec d’Urberville does not do this. He is male enough, in his way; but only physically male. He is constitutionally an enemy of the principle of self-subordination, which principle is inherent in every man. It is this principle which makes a man, a true male, see his job through, at no matter what cost. A man is strictly only himself when he is fulfilling some purpose he has conceived: so that the principle is not of self-subordination, but of continuity, of development. Only when insisted on, as in Christianity, does it become self-sacrifice. And this resistance to self-sacrifice on Alec d’Urberville’s part does not make him an individualist, an egoist, but rather a non- individual, an incomplete, almost a fragmentary thing.
There seems to be in d’Urberville an inherent antagonism to any progression in himself. Yet he seeks with all his power for the source of stimulus in woman. He takes the deep impulse from the female. In this he is exceptional. No ordinary man could really have betrayed Tess. Even if she had had an illegitimate child to another man, to Angel Clare, for example, it would not have shattered her as did her connection with Alec d’Urberville. For Alec d’Urberville could reach some of the real sources of the female in a woman, and draw from them. Troy could also do this. And, as a woman instinctively knows, such men are rare. Therefore they have a power over a woman. They draw from the depth of her being.
And what they draw, they betray. With a natural male, what he draws from the source of the female, the impulse he receives from the source he transmits through his own being into utterance, motion, action, expression. But Troy and Alec d’Urberville, what they received they knew only as gratification in the senses; some perverse will prevented them from submitting to it, from becoming instrumental to it.
