Thomas Hardy’s comprehensively if not especially catchily titled collection Late Lyrics and Earlier with Many Other Verses includes an introduction by the author framed as an ‘Apology’ against the charges of ‘pessimism’ which dogged him his whole career.
In the piece, Hardy protests that ‘what is today [this was just over a century ago, in 1922] alleged to be “pessimism” is in truth only questionings in the exploration of reality, and is the first step towards the soul’s betterment, and the body’s also.’ If way to better there be, he quotes from his own poem ‘In Tenebris’, it exacts a full look at the worst.
Hardy is a profoundly pessimistic writer, sometimes to the point of perversity. Awful things happen in the books: there is one scene in Jude the Obscure that made me cry on the train while I was reading it. There is a lingering air of melodrama in ‘Late Lyrics’, too, where the characters (most of the poems are ballad-like stories) are forever betraying each other, or encountering misfortune of some kind. He is never shy to point out that bad things happen to good people.
In Hardy’s day, the charge of pessimism went hand in hand with censure, particularly over the way he challenged Victorian sexual morality and religion. Hardy’s universe does not appear to have a Christian God, or any more abstract sense of benevolence.
What is interesting about the ‘Apology’ is that Hardy does not say simply that ‘what is alleged to be “pessimism”’ is simply how the world is, or appears to him – as his most famous acolyte Philip Larkin did whenever accused of a similar attitude.1 (It may be he felt he did not need to: he was describing Victorian rural life as he witnessed it, with all its attendant cruelties.)
Instead, Hardy takes his critics on their own turf, and defends his perspective as useful. ‘Pain to all… tongued or dumb [i.e. to humans or animals],’ he writes, ‘shall be kept down to a minimum by lovingkindness operating through scientific knowledge, and activated by the modicum of freewill conjecturally possessed by organic life when the mighty necessitating forces – unconscious or other… happen to be in equilibrium, which may or may not be often.’
If this is hope, it is incredibly qualified and not a little obscure. But despite the forbidding grandeur of phrases like ‘mighty necessitating forces’ there is a recognisable, positive philosophy here in which compassion is linked to finding and applying rational solutions to moral and social problems.
In a reissue of his first collection, The North Ship, Philip Larkin says that, shortly after those poems were published he threw off the influence of W. B. Yeats’s symbolism in favour of Hardy’s more plain style, paving the way for the ‘mature’ Larkin voice of The Less Deceived and The Whitsun Weddings.
Critics have largely gone along with this dichotomy, though some suggest Yeats’s influence might have been stronger, and continued longer, than Larkin let on. But you don’t, I think, seriously admire a writer, to the extent of identifying yourself with them as much as Larkin did with Hardy, without also engaging with their broader vision. Which makes the differences in their ‘pessimism’ particularly telling.
Two key themes that Larkin and Hardy have in common is their attentiveness to suffering, and their tendency to attack the sexual morality of their day. Hardy’s ‘Apology’ makes him out to be in some ways a good Victorian liberal, holding out for ways of alleviating human misery, and for a time when people can love according to their true selves, even if this rarely happens for the characters in his work.
For Larkin, on the other hand, suffering and sexual privation – for him, the two were usually associated with one another – were not problems to be resolved, but states which offered insight into the true nature of life, and which became the starting point of his own poems. Larkin takes Hardy’s so-called pessimism (which Hardy claims is only a qualified hope for others) and turns it into something both more personal, and more intractable – almost a kind of mysticism.
1 See for example the remarkable interview with John Haffenden, subsequently published in Viewpoints: poets in conversation with John Haffenden (Faber, 1981) and Further Requirements (Faber, 2001). Haffenden presses Larkin on this point several times.
NB the cover picture is a detail of an 1983 etching of Thomas Hardy by William Strang (National Gallery of Scotland)