THE HARDY REVIEW

Editor: Rosemarie Morgan

 

 Volume VII                                                                                               Winter 2004

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Copyright  is retained by TTHA. Individual items will not be reproduced without the author’s permission. Contributors may reclaim their work for inclusion in book publication

_____________________________________________               CONTENTS

        List of Illustrations.

   ii

        Editor’s Column.

   iii

TTHA:  FORUM DISCUSSION GROUP : -

   1

v      “Unkept Good Fridays.”

v      Hardy’s Rustics.

   2

   6

v      The Trumpet-Major Question.

v      Dorset Pronunciation.

  11

  14

TTHA:  POETRY DISCUSSION GROUP : -

 

v       THE SENSE OF AN ENDING:

v      “I Look Into My Glass.”

 23

 25

v       ΆGNWSTWI  QEWI.

v       “A Young Man’s Epigram on Existence.”

v      “A Poet,” & “In the Moonlight.”

v      “Afterwards.”

v      “Surview.”

v      “Why Do I?”

v      “He Resolves to Say No More.”

Isobel Robin, “The World’s a Poet’s Problem”; “The World Is.”

  26

  35

  38

  42

  45

  48

  51

  56

Robert Schweik, TTHA Checklist:  Recent Developments.

  57

TTHA:  HARDY AND FILM SYMPOSIUM : -

  63

      1. Richard Nemesvari, “Collaboration or Compromise: From    

          Screenplay to Screen in the Ian Sharp Production of Tess.”

 

  65

      2. W. Eugene Davis, “Folk Songs in The Shearing Supper

             Scene: John Schlesinger’s Far From the Madding Crowd.”

      3.  Shannon Rogers, “The Whole Left Behind: Omitted   

           Scenes in Polanski’s Tess.”

Robert Schweik, “A Note on Some Modern Critical Views of the  

      Relationship of The Well Beloved to the Victorian Art Context.”

Charles Pettit, “The Unique Achievement of Far From the Madding          

       Crowd.”

William W. Morgan, “Lammas Moon.”

 

  79

 

  86

 

  99

 

118

144

Rosemarie Morgan, Lammas Notes.

        Notes on Contributors.

        TTHA Information and Membership Form.

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