Taking to heart Thomas Heywood’s claim that plays “persuade men to humanity and good life, instruct them in civility and good manners, showing them the fruits of honesty, and the end of villainy,” Mark Bayer’s captivating new study argues that the early modern London theatre was an important community institution whose influence extended far beyond its economic, religious, educational, and entertainment contributions. Bayer concentrates not on the theatres where Shakespeare’s plays were performed but on two important amphitheatres, the Fortune and the Red Bull, that offer a more nuanced picture of the Jacobean playgoing industry. By looking at these playhouses, the plays they staged, their audiences, and the communities they served, he explores the local dimensions of playgoing. 

Because Thomas Hardy is so closely associated with the rural Wessex of his novels, stories, and poems, it is easy to forget that he was, in his own words, half a Londoner. Focusing on the formative five years in his early twenties when Hardy lived in the city, but also on his subsequent movement back and forth between Dorset and the capital, Mark Ford shows that the Dorset-London axis is critical to an understanding of his identity as a man and his achievement as a writer.

Thomas Hardy: Half a Londoner presents a detailed account of Hardy’s London experiences, from his arrival as a shy, impressionable youth, to his embrace of radical views, to his lionization by upper-class hostesses eager to fête the creator of Tess. Drawing on Hardy’s poems, letters, fiction, and autobiography, it offers a subtle, moving exploration of the author’s complex relationship with the metropolis and those he met or observed there: publishers, fellow authors, street-walkers, benighted lovers, and the aristocratic women who adored his writing but spurned his romantic advances.

The young Hardy’s oscillations between the routines and concerns of Dorset’s Higher Bockhampton and the excitements and dangers of London were crucial to his profound sense of being torn between mutually dependent but often mutually uncomprehending worlds. This fundamental self-division, Ford argues, can be traced not only in the poetry and fiction explicitly set in London but in novels as regionally circumscribed as Far from the Madding Crowd and Tess of the d’Urbervilles.