2/20/2023 0 Comments Memoranda notebooksMiddleton Murry, The Problem of Style (London: Humphrey Milford, 1922). Allen, 1904).Īllen Clarke, Windmill Land (London: J.M. George Dewar, The Glamour of the Earth (London: G. Philpotts (1862–1960), a literary disciple influenced markedly by Hardy in several novels, became a friend around 1915. )Įden Philpotts, Eudocia (London: Heinemann, 1921). Gertrude Bugler, Personal Recollections of Thomas Hardy (Dorchester: Dorset Natural History and Archaeological Society, 1962), reproducing a talk given on. After her last visit to Max Gate during his lifetime, Hardy insisted on accompanying Mrs Bugler down the drive, and suddenly told her: ‘If anyone asks you if you knew Thomas Hardy, say “Yes, he was my friend.’“ Hardy was undoubtedly charmed by Gertrude Bugler, who later recalled his laughter and personal kindness. Sydney Cockerell’s diary records Florence’s anxiety because Hardy had ignored her 45th birthday, been offhand and ‘spoke roughly to her’, and her distress over ‘his infatuation for the local Tess, Mrs Bugler, which had been the subject of much gossip in Dorchester’ (Wilfrid Blunt, Cockerell (London, 1964), pp.214–16). But Florence Hardy intervened and, pleading that the project was overexciting her husband, persuaded Mrs Bugler to abandon this chance of a lifetime. In early 1925, after the latter performance, Frederick Harrison (manager of the Haymarket Theatre, London) invited Mrs Bugler to play Tess in London, with Hardy’s encouragement. Gertrude Bugler (1896-), the beautiful daughter of a Dorchester baker, first met Hardy in 1913 when she was rehearsing the role of Marty South, but it was after the war that she had her most notable success as Eustacia (1920) and Tess (1924). This entry is a newspaper cutting pasted in the emendations as indicated are in Hardy’s hand.
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