By Thomas Hardy
The daughter of a filthy rich railway wealthy person, Paula energy inherits De Stancy citadel, an historic citadel short of modernization. She commissions George Somerset, a tender architect, to adopt the paintings. Somerset falls in love with Paula yet she, the Laodicean of the identify, is torn among his admiration and that of Captain De Stancy, whose old-world romanticism contrasts with Somerset's forward-looking perspective.
Paula's vacillation, even though, is not just romantic. Her ambiguity relating to faith, politics and social development is a mirrored image of the author's personal. This new Penguin Classics version of Hardy's textual content comprises an creation and notes that light up and make clear those issues, and attracts parallels among the textual content and the author's existence and perspectives.
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And we, in the Seventies, were frequently ridiculous, too, with our Fallacies and our Seven Types (and Leavis's besieged intensity was ridiculous. H. Lawrence). Emotional egalitarianism, for example, looks hard to attack. I honour it, in a way, but it has to me the pale glow of illusion. It is Utopian, which is to say that reality cannot be expected to support it. Then, too, these 'feelings' are seldom unadulterated; they are admixtures of herd opinions and social anxieties, vanities, touchinesses, and everything else that makes up a self.
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