A Laodicean; or, The Castle of the De Stancys. A Story of To-Day is a novel by Thomas Hardy, first published in 1880–81 in Harper's New Monthly Magazine. The plot exhibits devices uncommon in Hardy's other fiction, such as falsified telegrams and faked photographs.Thomas Hardy (2 June 1840 – 11 January 1928) was an English novelist and poet. A Victorian realist in the tradition of George Eliot, he was influenced both in his novels and in his poetry by Romanticism, including the poetry of William Wordsworth. He was highly critical of much in Victorian society, especially on the declining status of rural people in Britain, such as those from his native South West England.

"The Mayor of Casterbridge" is a classic novel written by Thomas Hardy. The novel was first published in 1886 under the complete title "The Mayor of Casterbridge: The Life and Death of a Man of Character".It is considered as one of the best novels written by Hardy and is particularly recognised for the complex manner in which the character of the protagonist Michael Henchard has been crafted by him.In "The Mayor of Casterbridge", Thomas Hardy set out to examine how a man's choices affect his life in the long run. Set in the early nineteenth-century in Casterbridge, a fictional town in Dorset in southwestern England, Hardy used his unique understanding of the poor and the rich to create the unique plot."The Mayor of Casterbridge" is, from beginning to end, the story of Michael Henchard, a skilled farm labourer who, in a drunken rage, sells his young wife, along with their infant child, to a passing sailor. Most of the novel takes place eighteen to twenty years after this event. When the sailor is reported lost at sea, the cast-off wife and now-grown daughter set out to find Michael, who has become an affluent businessman and the mayor of Casterbridge. Michael's success is temporary, though, as circumstances and his own weaknesses of character combine to bring about his downfall in spite of his attempts to right the wrong he committed years before.

Tess of the d'Urbervilles is a novel by Thomas Hardy. It initially appeared in a censored and serialised version, published by the British illustrated newspaper The Graphic in 1891, then in book form in three volumes in 1891, and as a single volume in 1892. Though now considered a major 19th century English novel and Hardy's magnum opus, Tess of the d'Urbervilles received mixed reviews when it first appeared, in part because it challenged the sexual morals of late Victorian England. Tess was portrayed as a fighter not only for her rights, but also for the rights of others. The novel is set in an impoverished rural England, Thomas Hardy's fictional Wessex.Thomas Hardy  (2 June 1840 – 11 January 1928) was an English novelist and poet. A Victorian realist in the tradition of George Eliot, he was influenced both in his novels and in his poetry by Romanticism, including the poetry of William Wordsworth. He was highly critical of much in Victorian society, especially on the declining status of rural people in Britain, such as those from his native South West England.

"Far from the Madding Crowd", was a popular attraction and Hardy's first critical success. It was first published in serial form in Cornhill magazine between January and December 1874, and then published the same year in London in book form. Hardy had already published several novels, but this was the first of the five novels that would assure his place in the annals of literature."Far from the Madding Crowd" tells the story of a young woman, Bathsheba Everdene, and the three men in her life: one is a poor sheep farmer who loses his flock in a tragedy and ends up working as an employee on Bathsheba's farm; one is the respectable, boring owner of a neighbouring farm who takes Bathsheba's flirtations too seriously; and the third is a dashing army sergeant who treats her like just another of his conquests. In chronicling their hopes, plans, and disappointments, Hardy presents to readers a clear example of Victorian romanticism. At the same time, his understanding of the lives of farmers and ranchers in rural England makes him a forerunner to the realistic tradition in literature.Wessex, the location for "Far from the Madding Crowd", is an imaginary English county that Hardy coloured with fine details throughout the course of his writing career. It is similar to Dorset, where Hardy lived most of his life, but its fictitious nature gave the author freedom to describe the landscape at will.

After the great success of "Far From the Madding Crowd", its editor, Leslie Stephen, asked Thomas Hardy for another novel. "The Hand of Ethelberta", Hardy’s fifth published novel, first appeared in the Cornhill Magazine between July 1875 and May 1876. In "The Hand of Ethelberta", Hardy drew on conventions of popular romances, illustrated weeklies, plays, fashion plates, and even his wife's diary in this comic story of a woman in control of her destiny. Ethelberta was raised in humble circumstances but became a governess and consequently, at the age of 18, married well. However, her husband died two weeks after the wedding. Her father-in-law, Lord Petherwin, died shortly afterwards. Ethelberta (now 21) lives with her mother-in-law, Lady Petherwin. In the three years that have elapsed since her marriage, Ethelberta has been treated to foreign travel and further privileges by Lady Petherwin but restricted from seeing her own family. The story follows Ethelberta's career as a famous poetess and storyteller. Meanwhile, she struggles to support her family and conceal the fact that her father is a butler. Ethelberta easily attracts four very persistent suitors but is reluctant to give her much-coveted hand.

The Return of the Native is one of Hardy's most popular novels pioneering such themes as sexual politics, thwarted desire, and the conflicting demands of nature and society, a truly a truly modern novel written ahead of its time. Underlying these modern themes, however, is a classical sense of tragedy: Hardy scrupulously observes the three unities of time, place, and action and suggests that the struggles of those trying to escape their destinies will only hasten their destruction.

"Far from the madding crowd" (1874) is Thomas Hardy"s fourth novel and his first major literary success. Gabriel Oak is a young shepherd. With the savings of a frugal life, and a loan, he has leased and stocked a sheep farm. He falls in love with a newcomer six years his junior, Bathsheba Everdene, a proud beauty who arrives to live with her aunt, Mrs. Hurst. Over time, Bathsheba and Gabriel grow to like each other well enough, and Bathsheba even saves his life once. However, when he makes her an unadorned offer of marriage, she refuses; she values her independence too much, and him too little. Feeling betrayed and embarrassed, Gabriel offers blunt protestations that only foster her haughtiness. After a few days, she moves to Weatherbury, a village some miles off... Thomas Hardy, (2 June 1840 – 11 January 1928) was an English novelist and poet.

Clim Yeobright, tired of city life, returns from Paris to open a school on Egdon Heath and, in spite of the opposition of his mother, marries Eustacia Vye, a passionate, pleasure-loving girl who hopes to persuade him to return to Paris. The Return of the Native was controversial in its day, causing quite a stir when it first appeared in the January-December 1878 issues of the magazine Belgravia, a publication known for its sensationalism. Because of the novel"s risqué themes, author Thomas Hardy had difficulty finding a publisher. Today, The Return of the Native is one of Hardy"s most popular novels.

One evening of late summer, before the nineteenth century had reached one-third of its span, a young man and woman, the latter carrying a child, were approaching the large village of Weydon-Priors, in Upper Wessex, on foot. They were plainly but not ill clad, though the thick hoar of dust which had accumulated on their shoes and garments from an obviously long journey lent a disadvantageous shabbiness to their appearance just now. The man was of fine figure, swarthy, and stern in aspect; and he showed in profile a facial angle so slightly inclined as to be almost perpendicular. He wore a short jacket of brown corduroy, newer than the remainder of his suit, which was a fustian waistcoat with white horn buttons, breeches of the same, tanned leggings, and a straw hat overlaid with black glazed canvas. At his back he carried by a looped strap a rush basket, from which protruded at one end the crutch of a hay-knife, a wimble for hay-bonds being also visible in the aperture. His measured, springless walk was the walk of the skilled countryman as distinct from the desultory shamble of the general labourer; while in the turn and plant of each foot there was, further, a dogged and cynical indifference personal to himself, showing its presence even in the regularly interchanging fustian folds, now in the left leg, now in the right, as he paced along. What was really peculiar, however, in this couple’s progress, and would have attracted the attention of any casual observer otherwise disposed to overlook them, was the perfect silence they preserved. They walked side by side in such a way as to suggest afar off the low, easy, confidential chat of people full of reciprocity; but on closer view it could be discerned that the man was reading, or pretending to read, a ballad sheet which he kept before his eyes with some difficulty by the hand that was passed through the basket strap. Whether this apparent cause were the real cause, or whether it were an assumed one to escape an intercourse that would have been irksome to him, nobody but himself could have said precisely; but his taciturnity was unbroken, and the woman enjoyed no society whatever from his presence. Virtually she walked the highway alone, save for the child she bore. Sometimes the man’s bent elbow almost touched her shoulder, for she kept as close to his side as was possible without actual contact, but she seemed to have no idea of taking his arm, nor he of offering it; and far from exhibiting surprise at his ignoring silence she appeared to receive it as a natural thing. If any word at all were uttered by the little group, it was an occasional whisper of the woman to the child—a tiny girl in short clothes and blue boots of knitted yarn—and the murmured babble of the child in reply.

A Saturday afternoon in November was approaching the time of twilight, and the vast tract of unenclosed wild known as Egdon Heath embrowned itself moment by moment. Overhead the hollow stretch of whitish cloud shutting out the sky was as a tent which had the whole heath for its floor. The heaven being spread with this pallid screen and the earth with the darkest vegetation, their meeting-line at the horizon was clearly marked. In such contrast the heath wore the appearance of an instalment of night which had taken up its place before its astronomical hour was come: darkness had to a great extent arrived hereon, while day stood distinct in the sky. Looking upwards, a furze-cutter would have been inclined to continue work; looking down, he would have decided to finish his faggot and go home. The distant rims of the world and of the firmament seemed to be a division in time no less than a division in matter. The face of the heath by its mere complexion added half an hour to evening; it could in like manner retard the dawn, sadden noon, anticipate the frowning of storms scarcely generated, and intensify the opacity of a moonless midnight to a cause of shaking and dread. In fact, precisely at this transitional point of its nightly roll into darkness the great and particular glory of the Egdon waste began, and nobody could be said to understand the heath who had not been there at such a time. It could best be felt when it could not clearly be seen, its complete effect and explanation lying in this and the succeeding hours before the next dawn; then, and only then, did it tell its true tale. The spot was, indeed, a near relation of night, and when night showed itself an apparent tendency to gravitate together could be perceived in its shades and the scene. The sombre stretch of rounds and hollows seemed to rise and meet the evening gloom in pure sympathy, the heath exhaling darkness as rapidly as the heavens precipitated it. And so the obscurity in the air and the obscurity in the land closed together in a black fraternization towards which each advanced halfway.

Thomas Hardy Six Pack includes six of Hardy"s best known works - Far from the Madding Crowd, The Return of the Native, A Pair of Blue Eyes, Tess of the D’Urbervilles, Jude the Obscure and Elegy for the Titanic (On the Convergence of the Twain).

In Victorian England, the independent and headstrong Bathsheba Everdene attracts three very different suitors: Gabriel Oak, a sheep farmer; Frank Troy, a reckless Sergeant; and William Boldwood, a prosperous and mature bachelor. Alive with lush, idyllic settings that exert profound influences on the novel"s characters, Far from the Madding Crowd is an unforgettable narrative of both beauty and devastation. Its portrait of rural life, and compelling examination of social conventions, has made it one of literature’s classic romances.

Jude the Obscure is a novel by Thomas Hardy, which began as a magazine serial in December 1894 and was first published in book form in 1895. It is Hardy"s last completed novel. Its protagonist, Jude Fawley, is a working-class young man, a stonemason, who dreams of becoming a scholar. The other main character is his cousin, Sue Bridehead, who is also his central love interest. The novel is concerned in particular with issues of class, education, religion, morality and marriage. Thomas Hardy OM (2 June 1840 – 11 January 1928) was an English novelist and poet. A Victorian realist in the tradition of George Eliot, he was influenced both in his novels and in his poetry by Romanticism, especially William Wordsworth. He was highly critical of much in Victorian society, especially on the declining status of rural people in Britain, such as those from his native South West England.

Tess of the D’Urbervilles was a controversial work when it first appeared in the early 1890s. The serialized version of 1891 was heavily censored and the full novel of 1892 received mixed reviews, largely because it challenged the sexual morals of late Victorian England. The book’s reputation has since grown considerably and it is now routinely cited as Thomas Hardy’s masterpiece. The richly descriptive narrative is rife with unforgettable vignettes of rural life in late 19th-century England but the story’s timeless power stems from its heart-wrenching romance and the tragic experiences – or fate, as Hardy might have put it - of the eponymous heroine.

Extrait : "Le maître d'école quittait le village et chacun semblait attristé. Le meunier de Cresscombe lui avait prêté son cheval et sa petite charrette à bâche blanche pour transporter son mobilier à la ville où il devait se rendre, environ à vingt milles de là. Un tel véhicule était de dimensions suffisantes pour contenir les effets du magister qui s'en allait."