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It explains how Hardy’s poems are profoundly autobiographical and warns against losing the poems in excessive biographical and topographical detail by structuring the programme from life to poetry. The text emphasizes visual elements shifting during reading to place final emphasis on the poems, and highlights the value of studying Hardy’s manuscripts and textual 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INTRODUCTION\n\nThis Visual Aid Programme aims to develop a fuller understanding ofHardy's poetry and,even more important,to show how poetry grows outof life.  \nHardy's poetry is profoundly autobiographical.He himself said thatthere was more autobiography in a hundred lines of his poetry than in allthe novels,and it could be argued that a full understanding of some of hisgreatest poems is not possible without some knowledge of his life.The dangeris that the poetry may be lost sight of in a mass of biographical and topo-graphical detail.I have tried to avoid this by structuring the Programme insuch a way that its movement is very firmly from the life to poetry.It is thepoetry that matters finally.Thus with both ‘At Castle Boterel’and 'TheFrozen Greenhouse'the visual element shifts during the course of the read-ing of the poem from the life to the poetry,and the final emphasis is on thepoetry.  \nIn discussing the two main poems dealt with in the Programme—'BeenyCliff and 'During Wind and Rain'—I have said enough,I hope,to helpthe student and stimulate interest in further study of these and other Hardypoems while avoiding the kind of exhaustive criticism that leaves little tobe said.I have given slightly more time to textual than to general criticismbecause I believe in the educational value of the study of a great writer'stextual changes.In The Later Years of Thomas Hardy Mrs Hardy tells us of'Hardy's artistic inability to rest content with anything that he wrote untilhe had brought the expression as near to his thought as language wouldallow.He would,for instance,often go on revising his poems for his ownsatisfaction after their publication in book form.'We can learn a great dealabout Hardy's approach to his writing and about his meticulous use oflanguage from a study of his manuscripts and texts.  \nWhat finally matters is that those who see and listen to this Visual AidProgramme should have an enhanced appreciation not just of Hardy'spoetry but of the nature of poetry itself,the way in which it is 'made’,andof its relevance to us all.Hardy thought that the aim of the poet should beto move our hearts by showing his own.The success of this Programme willdepend upon its ability to show by its provision of source materials fromHardy's life just how Hardy achieves his aim.  \nJames Gibson  \n# THOMAS HARDYTHE MAKING OF POETRY\n\nI  \n2 Atfour o'clockonthemorningof the7March1870,Thomas Hardy left this cottage at Higher Bockhamptonin Dorset.It had been built by Hardy's great-grandfatherin 180I,and Thomas was born here in 1840.Hardy,nowthirtyyearsold,3 hadbeentrainedasanarchitect,andwas travelling to St Juliot in Cornwall to make plans forthe restoration of the dilapidated village church.  \n4 The journey from the cottage at Higher Bock-hampton,just outside Dorchester,to St Juliot,a smallvillage near Boscastle,was a long and difficult one of morethan a hundred miles.He went by train through Yeoviland Exeter and arrived at Launceston at four in theafternoon.The railway line finished here,and he travelledthe last eighteen miles in a horse-drawn trap.5 In dark-ness he approached this rectory,the rectory of St Juliot.Here he was to stay for a few days as a guest of the vicarof the parish while he made his drawings and plans forthe rebuilding of the church.  \n6 He walked down the drive,knocked at the door,, and met the woman who for the rest of her life was to bethemostpowerfulinfluenceonhiswriting7—EmmaLavinia Gifford,the attractive and vivacious sister-in-law of the vicar.  \nEmma had been born and had grown up in Plymouth,but when she was twenty the family had been forced tomove to Bodmin because of money difficulties.Severalyears later,when her sister had married the vicar of StJuliot,Emma joined her in order to help with the workof the parish.Hardy's meeting with Emma was to be farmore important than h","cbCaiuUTcNrhTinQ","https://ap.wps.com/l/cbCaiuUTcNrhTinQ","pdf",1534189,"English","# INTRODUCTION\n## Visual Aid Programme aims\n## From life to poetry\n## Two main poems and student guidance\n## Hardy’s artistic revisions and language","[{\"question\":\"What is the main aim of the Visual Aid Programme?\",\"answer\":\"It seeks to deepen understanding of Hardy’s poetry and show how poetry grows out of life.\"},{\"question\":\"Why does the Programme structure discussion from life to poetry?\",\"answer\":\"Because biographical and topographical detail can distract from the poems; the movement is designed so the final emphasis remains on the poetry.\"},{\"question\":\"How does studying Hardy’s manuscripts benefit understanding?\",\"answer\":\"It reveals Hardy’s approach to writing and his meticulous use of language, including extensive revisions after publication.\"}]","Thomas Hardy - The Making of Poetry - Introduction | PDF",1789987414,29]