^{Note 1 in page 505} John Gould Fletcher, “The Spirit of Thomas Hardy,” Yale Review, 12 (1924), 328.

^{Note 2 in page 505} Douglas Brown, Thomas Hardy, 2nd ed. (London: Longman, 1961), p. 171.

^{Note 3 in page 505} The Pattern of Hardy's Poetry (Chapel Hill : Univ. of North Carolina Press, 1961), pp. 137–38. Hynes's comments appear in his chapter on Hardy's development. He cites the sequence as “a good example of Hardy's style as it was manifested in the later productive decade [1910–20].” For all its brevity, Hynes's treatment of the poems, esp. his analysis of “The Voice,” is among the best to date.

^{Note 4 in page 505} For the only comment on the unevenness of the sequence, see J. L M. Stewart, Thomas Hardy: A Critical Biography (London: Longman, 1971), pp. 230–32.

^{Note 5 in page 505} Thomas Hardy (New York: Macmillan, 1967), p. 183.

^{Note 6 in page 505} Thomas Hardy: Distance and Desire (Cambridge, Mass.: Harvard Univ. Press, 1970), p. 249.

^{Note 7 in page 505} Thomas Hardy: The Poetic Structure (London: Elek, 1971), p. 96. In Brooks's reading, the “peak” poems are: “The Going,” “I Found Her Out There,” “The Voice,” “After a Journey,” “At Castle Boterel,” and “Where the Picnic Was.” Brooks's essay on the sequence is the fullest attempt to date to deal with the poems as one work.

^{Note 8 in page 505} Quoted from The Collected Poems of Thomas Hardy (London: Macmillan, 1962) by permission of the Trustees of the Hardy Estate, The Macmillan Company of New York, The Macmillan Company of Canada, and Macmillan London and Basingstoke.

^{Note 9 in page 505} Carl J. Weber, Hardy of Wessex: His Life and Literary Career, 2nd ed. (New York: Columbia Univ. Press, 1965), p. 259. Weber counts 32 poems in the 1914 volume along with 33 in the 1917, 25 in the 1922, and 16 in the 1925 volumes.

^{Note 10 in page 505} “Rain on a Grave,” e.g., was written in Jan. 1913, but is printed ahead of “I Found Her Out There,” which was written in Dec. 1912.

^{Note 11 in page 505} The 3 added poems were also published in Satires of Circumstance in 1914, but they were not placed with the rest of the group until the first edition of Collected Poems in 1919.

^{Note 12 in page 505} Brooks (p. 95), because she sees the sequence as focusing more completely upon Emma than upon Hardy, suggests that only the first 11 poems have to do specifically with the Dorset setting. The 12th poem, “A Dream or No,” clearly does locate Emma in the distant past and Cornwall, but the poet's consciousness is still bound by Dorset and the present.

^{Note 13 in page 505} “Where the Picnic Was” had been generally read as a reference to a picnic some 40 years before, during the Hardys' courtship. Recently, J. O. Bailey, in his The Poetry of Thomas Hardy: A Handbook and Commentary (Chapel Hill: Univ. of North Carolina Press, 1970), has demonstrated with both internal and external evidence that the poem refers to a much more recent Dorset picnic. Other aspects of Bailey's commentary on the background of these poems are also valuable (pp. 293–308).

^{Note 14 in page 505} Miller notes (p. 248) that just as Aeneas must face Dido's spirit in Book vi of the Aeneid, so Hardy must confront the spirit of his dead wife at several points in the elegy.

^{Note 15 in page 505} Hynes (p. 137) also notes the connection between this image and the Latin subtitle.

^{Note 16 in page 505} Both Barker and Robert Lowell have, in a sense, preserved some of the older tradition which Hardy had ignored or rejected. Both poets, e.g., employ something like the more elevated diction of earlier elegies, and both use some version of the inherited theological and/or mythological systems. See Barker's poem “On the Death of Manolete” and his “Elegy for David Gray” and Lowell's “In Memory of Arthur Winslow” and “The Quaker Graveyard in Nantucket.”

^{Note 17 in page 505} See W. H. Auden, “A Literary Transference,” Southern Review, 6 (Summer 1940), 78–86. Of the 13 “touchstone” passages from Hardy that Auden quotes in his essay, 3 are from the “Poems of 1912–13.”

^{Note 18 in page 505} I am not here, of course, limiting the definition of the tradition to the specimens of the strictly pastoral elegy, else I would have to exclude In Memoriam; nor am I extending it to the entire literature of grief, since that would involve treating such diverse pieces as Whitman's “When Lilacs Last in the Dooryard Bloom'd” and Dryden's “To the Memory of Mr. Oldham.” I am using instead the definition implied by the 4 poems named—that is, simply, the series of famous elegies that Hardy knew well.

^{Note 19 in page 505} Florence Emily Hardy, The Life of Thomas Hardy: 1840–1928 (London: Macmillan, 1962), p. 203.

^{Note 20 in page 505} Walter F. Wright describes Hardy's copies of these poems in his 77;e Shaping of The Dynasts (Lincoln: Univ. of Nebraska Press, 1967), pp. 18–22.

^{Note 21 in page 505} In “Lament” the narrator's distaste for those “small things” in which she took pleasure is only barely kept under control by the sadness of his tone.

^{Note 22 in page 505} The quoted phrases are all from “The Going” and “The Voice.”

^{Note 23 in page 505} Brooks (p. 93) notes that “the shadow of the timeless world of myth hovers . . . behind Hardy's personal tragedy, for the Cornish landscape of Emma's home was also the setting for the tragic death-marked love of Tristram and Iseult.”

^{Note 24 in page 505} Sec. xxiii of lit Memoriam is a representative example of Tennyson's use of pastoral convention.

^{Note 25 in page 505} The phrase “an expiation” is attributed to Hardy by Richard Little Purdy in his Thomas Hardy: A Bibliographical Study (Oxford: Clarendon, 1954), p. 166. I have been unable to discover the original source.

^{Note 26 in page 505} Benson's report of Hardy's comment is quoted in Weber, p. 258.