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56 pages, Paperback
First published January 1, 1914


Veteris vestigia flammaeThomas Hardy wrote these poems after the death of his first wife, Emma. They had grown apart during the later years of their marriage, with Hardy and his secretary having an affair through Emma’s illness (yes, he's one of the original fuckboys!), which eventually killed her. Paradoxically, on losing her Hardy was overcome with guilt for his neglect. His love for Emma was rekindled and he felt terrible sadness.
(My passion is not wholly extinguished)
Can it be you that I hear? Let me view you, then,In my opinion, most of Hardy's poems reflect this coping mechanism. He is constantly musing about seeing his wife's ghost/spirit, or hearing her voice. He wants to believe that some part of her is still with him. He is seeking consolation in the places they formerly visited together, and he tries to block out the harsh reality by reliving their constructed undisturbed past.
It was your way, my dear,There aren't many poems which reflect this emotion. Most of the time Hardy is just expressing his sadness and hopelessness, but when the anger kicks in it is indeed targeted at his wife. He accuses her of leaving him behind, leaving him all alone (ironically, we do know that Hardy was the one who ditched her but mkay...).
To vanish without a word
When callers, friends, or kin
Had left, and I hastened in
To rejoin you, as I inferred.
So, now that you disappear
For ever in that swift style,
Your meaning seems to me
Just as it used to be:
'Good-bye is not worth while!'
Why do you make me leave the houseHe also accuses his wife's spirit of tricking him into thinking she is still there. It's fascinating to see how both, denial and anger, are at work.
And think for a breath it is you I see
Queer are the ways of a man I know:Bargaining is something that Hardy barely ever does. He doesn't ask himself what he could've done better. He doesn't question his own behaviour. However, there are many poems in which he taunts the past through an exercise of the imagination. He is seeking to put the more recent past behind him by recalling a more distant past when all was well. Hardy in his role of the poet recognises this by pointing to the contrast between the vision he experiences as the subject of the poem and the observations of the outsiders.
He comes and stands
In a careworn craze,
And looks at the sands
And the seaward haze
With moveless hands
And face and gaze,
Then turns to go...
And what does he see when he gazes so?
O you could not knowAgain, it was quite hard to find fitting verses for this stage. Throughout most of these poems, Hardy is in quite the depressed mood, however, it shows on a more abstract level; he is, for instance, not worrying about any consequences in regards to Emma's burial. Instead, he tries to stay in this dream-like state of recollecting the past.
That such swift fleeing
No soul forseeing –
Not even I – would undo me so!
You would be goneJudging from the fact that Hardy was even able to write these poems, and then remarried only two years after Emma's death, I think it's safe to say that he managed, in whichever shape or form, to move on and accept her death. In a lot of his poems you can actually feel his resignation and his coming to terms with the fact that Emma is now beyond his reach.
Where I could not follow