Works of Thomas Hardy discussion

Snow in the Suburbs

Every branch big with it,
Bent every twig with it;
Every fork like a white web-foot;
Every street and pavement mute:
Some flakes have lost their way, and grope back upward, when
Meeting those meandering down they turn and descend again.
The palings are glued together like a wall,
And there is no waft of wind with the fleecy fall.

A sparrow enters the trees,
Whereon immediately
A snow-lump thrice his own slight size
Descends on him and showers his head and eyes,
And overturns him,
And near inurns him,
And lights on a nether twig, when its brush
Starts off a volley of other lodging lumps with a rush.

The steps are a blanched slope,
Up which, with feeble hope,
A black cat comes, wide-eyed and thin:
And we take him in.


Glossary:

palings - a fence made of pointed wooden or metal stakes

inurns - buries

nether - underneath

Writing the Poem

"Snow in the Suburbs" first appeared in the collection "Human Shows, Far Phantasies, Songs and Trifles" in 1925. This was Thomas Hardy's seventh volume of poetry, published when he was 85, and it contained some poems which he had written much earlier.

According to author Claire Tomalin, "Snow in the Suburbs" "dates back to the freezing winter of his illness in 1880, trimmed into a 1920s imagist shape with the crispness of a black-and-white print."

Hardy and his wife had taken a house in Tooting when Hardy became very ill with a severe bladder infection (before antibiotics) and had to rest in bed for many months. In addition to nursing Hardy, his wife Emma became his amanuensis and correspondent with his publishers that year. It was an exceptionally snowy, frigid winter with snow blowing in through window cracks and doors. The winter snow did give Hardy the inspiration to wrote a lovely poem - or at least a draft of the poem.

Tomalin, Claire, "Thomas Hardy" 2006 p 358, 184-185.

Now, over to the group for your impressions of the poem.

It is lovely and paints a beautiful picture in the mind.

Dorothy wrote: "It is lovely and paints a beautiful picture in the mind."

It makes me smile every time I read it, Dorothy :-)

I absolutely love the final stanza, and especially the final verse: We take him in.

Rosemarie wrote: "I absolutely love the final stanza, and especially the final verse: We take him in."

I agree, Rosemarie. The phrase "with feeble hope" is heartbreaking. I feel like the reader mentally goes right into that warm house along with the thin cat.

The first time I read the poem I felt like I was observing the scene from outdoors. But the next time, I felt like I was watching out the window with the compassionate narrator.

As Rosemarie, I like the final stanza best! There's something striking in the image of the black cat in that awfully white, icy world, that place where the cat doesn't belong in so many different ways . . . and then there is the taking in. It has a specific meaning here of course, but the taking in of something is often so pregnant with metaphoric meanings that even here when it means something simple, I enjoy the lingering suggestiveness of the line.

As a matter of personal taste, the first stanza had so many rhymes, partial rhymes, alliterations, repetitions and yet so much variance that it felt a little awkward to me as I read it. I liked the imagery though, and I liked the poem better the farther it went. The wintry scene is very vividly described. The second half of the second stanza was also quite lovely I thought.

Thanks for the poem Connie!

Enjoyed reading the poem and all of your thoughts. It is helping me appreciate poetry more. Thank you.

The one thing that I will say, as a child watching birds at our birdfeeder, we had a lot of sparrows. And the sparrow has a humble place, in that God said that not even a sparrow would fall and he did not know it. So that is a reflection of the cat being taken in I believe.

That poem really illustrated the objects in the surrounding during winter. I feel first stanza really still and the tone of Hardy change in each stanza. second stanza becomes more lively and humorous but the last one is tense and state the theme of the poem which is humanity. thanks for reminding this poem.

What I find interesting is that I was fairly sure of this poem, having concluded it with a particular final image in mind. The comments made me rethink that assumption. As Greg put it, the poem evokes more of a lingering suggestiveness, and more positive minds might imagine the cat slowly and uneventfully going on its way.

A snow-lump thrice his own slight size
Descends on him and showers his head and eyes,
And overturns him,
And near inurns him
And lights on a nether twig, when its brush
Starts off a volley of other lodging lumps with a rush.

When the bird alights onto a lower twig, another rush of snow-lumps is dislodged. Does the slight sparrow fall again?

I like how Claire Tomalin described the poem as having the crispness of a black-and-white print, as I enjoyed the imagery of the snowy scene, with the contrasting blackness of the cat against the whiteness of the snow.

I had understood the last line, and we take him in, as a visual taking in with the eyes. But, of course, on further reflection, it can also mean inside the house. The cat ascends the steps with feeble hope. What do the words 'feeble hope' signify? Has the cat something in its mouth of which experience tells it, once indoors, will cause a commotion?

A black cat comes, wide-eyed and thin:
And we take him in.

The open-ended finish of the poem makes me think of Hardy's Hap, with its themes of chance and the neutrality of nature. Did dicing Time cast a gladness or a moan for the poor sparrow?

Greg and Jane, it's interesting how you point out that the last line of the poem can have multiple meanings. The narrator could be taking the actions of the cat in visually, or emotionally. Considering that the cat is thin and coming up the stairs with feeble hope, the cat is looking for shelter from the snowstorm and a meal. So the reader hopes the narrator is also opening the door.

Cosmic wrote: "Enjoyed reading the poem and all of your thoughts. It is helping me appreciate poetry more. Thank you.

The one thing that I will say, as a child watching birds at our birdfeeder, we had a lot of s..."

That's a good thought, Cosmic, about the importance of all creatures, even the most humble. Hardy was very fond of birds and included them in both his novels and his poetry.

Connie wrote: "Greg and Jane, it's interesting how you point out that the last line of the poem can have multiple meanings. The narrator could be taking the actions of the cat in visually, or emotionally. Conside..."

I read this as actually taking the cat to a warm place, but I agree that it can be taken as being observed. Reminds me of taking birds in who had been mauled by a cat. I once held a hummingbird in my hands to save it from a cat.

Yoonme wrote: "That poem really illustrated the objects in the surrounding during winter. I feel first stanza really still and the tone of Hardy change in each stanza. second stanza becomes more lively and humoro..."

Thanks for pointing out the change in tone as we go from stanza to stanza, Yoonme. I think that's why it's such an enjoyable poem - it makes us smile during the second stanza and touches our hearts in the third stanza.

Jane, I also liked Claire Tomalin's description of the poem having the crispness of a black and white print. In addition to the black cat in the snow, we can also picture the black branches contrasting with the white snow. Tomalin made me think of a very sharply focused photograph, like an Ansel Adams print.

Connie wrote: "Considering that the cat is thin and coming up the stairs with feeble hope, the cat is looking for shelter from the snowstorm and a meal."

I agree the cat is likely looking for shelter and warmth from the snow, Connie. This can explain the feeble hope mentioned. I feel, especially in this particular poem, there is room for interpretation. Even thin cats get lucky sometimes!

Hardy has created a scene with only two animals: a struggling bird and a hungry cat. To me that seems to be significant. Significant to the poem's ambiguity. I like to think this is Hardy's cleverness at play, putting in just enough information and leaving the rest to the reader. However, this is only my interpretation.

Jane wrote: "Connie wrote: "Considering that the cat is thin and coming up the stairs with feeble hope, the cat is looking for shelter from the snowstorm and a meal."

I agree the cat is likely looking for shel..."

Hardy seems to have keen powers of observation. He was known to be fond of both birds and cats so probably was very tuned into their situations.

I've seen birds getting bombarded with snow as they flit from branch to branch. It doesn't seem to bother them since their feathers have oils that resist the elements.

Jane wrote: "When the bird alights onto a lower twig, another rush of snow-lumps is dislodged. Does the slight sparrow fall again?"

Does the cat eat the bird? ...and we are reminded of how the cat is thin...
Or did the bird get away?
And we took the cat in?

Connie wrote: "Hardy seems to have keen powers of observation. He was known to be fond of both birds and cats so probably was very tuned into their situations."

I have thought about this poem quite a bit, deleted and subsequently edited my comments multiple times throughout the day (sorry if you all got spammed with notifications!) in an attempt to make them clear. I hoped to express that I feel there can be more than one valid interpretation. In my last comment, perhaps it seems I am claiming Hardy wanted us to come to one particular conclusion. That's not what I meant at all! I meant to say that I feel Hardy purposefully included the doubt. It is, of course, possible he didn't. I don't know what Hardy intended.

Cosmic wrote: "Does the cat eat the bird? ... and we are reminded of how the cat is thin. Or did the bird get away?"

One thing is for sure, Cosmic. Hardy didn't tell us!

Connie wrote: "Tomalin made me think of a very sharply focused photograph, like an Ansel Adams print."

I hadn't heard of Ansel Adams. I've just Googled images of his work. Breathtaking!

I hope I haven't ruined the poem for you, Connie! As I mentioned in my first comment, my interpretation probably speaks more about my mind than any inherent truth behind the poetry. Of course, a 'happy ending' is not a requisite for enjoying a poem and I did enjoy the poem together with the lively discussion.

Cosmic wrote: "Jane wrote: "When the bird alights onto a lower twig, another rush of snow-lumps is dislodged. Does the slight sparrow fall again?"

Does the cat eat the bird? ...and we are reminded of how the cat..."

No, there was no mention of the cat eating the bird, Cosmic. The bird probably just flew to another branch if it got bombarded with snow again. I think the cat was more interested in getting in the house where it was warm and the narrator might feed him.

Small birds like sparrows often go into bushes that have lots of little branches if they sense danger. Predators like cats can't reach them there. We have some forsythia bushes around our house, and the sparrows hide there.

It’s interesting how different people interpret poetry in a truly personal way. I was more entranced with that first stanza with the ethereal picture of the twirling, dancing snowflakes in their “fleecy fall” before the sparrow came on the scene and upended both the snow and itself, which is a wry but amusing spectacle. Then other creatures in the form of a black cat materialise out of the snowy whiteness seeking “feeble hope”, presumably food, shelter and warmth? It’s a very cosy poem overall.

Dorothy wrote: "Connie wrote: "Greg and Jane, it's interesting how you point out that the last line of the poem can have multiple meanings. The narrator could be taking the actions of the cat in visually, or emoti..."

Dorothy, you're very tenderhearted. Hummingbirds are beautiful! I remember rescuing a baby rabbit from a cat when I was a little girl, and making a bed for it in a shoe box. I was devastated when it died.

Fortunately, there is no mention of the cat chasing the bird in this poem.

Jane wrote: "Connie wrote: "Hardy seems to have keen powers of observation. He was known to be fond of both birds and cats so probably was very tuned into their situations."

I have thought about this poem quit..."

I think it's fun when you're not quite sure about the ending! We'll never know for sure what Hardy meant, but I'm guessing the cat was let into the house.

Boadicea wrote: "It’s interesting how different people interpret poetry in a truly personal way. I was more entranced with that first stanza with the ethereal picture of the twirling, dancing snowflakes in their “f..."

That first stanza is beautiful, and I liked the simile

"Every fork like a white web-foot"

since I never thought of snow in that way.

Your comment about "the ethereal picture of the twirling, dancing snowflakes" is very poetic too, Boadicea!

There’s a lovely Japanese woodblock print by one of the later ukiyo-e artists that this poem brings to mind with a dark cat looking out of a window at a sparkling winter wonderland at night. I’ll head down a favourite rabbit hole shortly & see what I can find!

Boadicea wrote: "There’s a lovely Japanese woodblock print by one of the later ukiyo-e artists that this poem brings to mind with a dark cat looking out of a window at a sparkling winter wonderland at night. I’ll h..."

I would love to see it!

Me too!

so many wonderful thoughts, about a lovely poem. I really liked Greg's idea of "lingering suggestiveness".

The images of snow are very powerful here. It feels like a first snowfall to me. Before any human has trod over it.

I absolutely loved the line "and near inurns him" . That word "inurns" really got me. I've never come across that word before, and it struck me as a playful way to describe what is happening to the poor little sparrow. I mean playful in the sense of playing with words, which is really the point of poetry, I guess.

Bridget wrote: "so many wonderful thoughts, about a lovely poem. I really liked Greg's idea of "lingering suggestiveness".

The images of snow are very powerful here. It feels like a first snowfall to me. Before ..."

I also had never heard the word "inurns" before. Hardy seems to have such a love of language. I sometimes don't know if he's using an older word, or if he's made it up.

We woke to snow this morning and this feels so appropriate in the moment! There wasn't enough to bend every twig with it, but the sentiment holds for the day.

Carolien wrote: "We woke to snow this morning and this feels so appropriate in the moment! There wasn't enough to bend every twig with it, but the sentiment holds for the day."

There's something special about fresh-fallen snow, Carolien. I'm glad you read the poem at the perfect time!

The Title

"Snow at Upper Tooting" was the original title of the poem, but it was erased in the manuscript and renamed "Snow in the Suburbs." Tooting is in South London, located about 5 miles SW of Charing Cross, and a much busier area now.

This is a look at the poem in some detail, stanza by stanza, putting together many ideas that were contributed.

First Stanza

Every branch big with it,
Bent every twig with it;
Every fork like a white web-foot;
Some flakes have lost their way, and grope back upward, when
Meeting those meandering down they turn and descend again.
Some flakes have lost their way, and grope back upward, when
Meeting those meandering down they turn and descend again.
The palings are glued together like a wall,
And there is no waft of wind with the fleecy fall.

The first stanza describes an undisturbed, quiet snow scene. It uses couplets in rhymes and half rhymes AABBCCDD.

Hardy uses repetition of "every" and "with it" in the first 4 lines, as well as the simile of "Every fork like a white web-fork" in line 5.

There is a playfulness in the description of the snow falling:

"Some flakes have lost their way, and grope back upward, when
Meeting those meandering down they turn and descend again."

We get the sense of a quiet scene from line 4:

"Every street and pavement mute"

The alliterations of the soft sounds in the stanza contribute to the quiet mood - meeting/meandering, wall/waft/wind, and fleecy/fall.

Second Stanza

A sparrow enters the trees,
Whereon immediately
A snow-lump thrice his own slight size
Descends on him and showers his head and eyes,
And overturns him,
And near inurns him,
And lights on a nether twig, when its brush
Starts off a volley of other lodging lumps with a rush.

In the second stanza we see more movement and the introduction of something alive (the bird) in an amusing scene.

The short fifth and sixth lines accentuate how startled the bird must be feeling. The use of "and" three times also hurries the lines as the poor bird is dealing with the surprise of the lumps of snow.

The longer lines give the visual idea of the long tree branches.

Third Stanza

The steps are a blanched slope,
Up which, with feeble hope,
A black cat comes, wide-eyed and thin:
And we take him in.

The third stanza brings the movement of the cat and some human involvement.

The stanza starts with a metaphor:

"The steps are a blanched slope"

Not many of us could resist the "thin" cat coming up the steps "with feeble hope," especially an animal lover like Hardy.

"And we take him in" is a wonderful way to end the poem with the warmth it conveys, and the inclusiveness of the word "we." Someone is probably taking the cat into the house (or at least taking the cat in visually), creating a bond. Everyone may read the last line a little differently, but the word "we" also could include the reader who is making a warm emotional connection in their imagination and in their heart.

I think this might be the print you referred to Boadicea:

"Cat sitting in window" by Utagawa Hiroshige - (1797-1858)

I can see why it came into your mind; that landscape is so atmospheric. It's nothing like the Victorian suburban streets of Upper Tooting (or as we now call it Tooting Bec) of course, which has terraced houses with large gardens behind. And definitely no Mount Fuji! But I'm so glad Thomas Hardy changed the title, (thanks Connie!) as it makes the poem have a broader reference, and many more of us can picture a scene in our minds. Mine is, I think, a visual composite of all the places I have lived.

"Snow in the Suburbs" has always been a favourite Thomas Hardy poem of mine. I think we all had to learn the first stanza by heart at primary school, oh so many years ago!

This week it's been fascinating to revisit it and get new insights from everyone - and the analysis and background from Connie too. Thank you so much for choosing and leading this lovely evocative poem.

Today we move on to another poem, but this one stays current for another week before moving to our poetry folder. Please do add further thoughts if you wish, or if you have just found this one.

Suburbs seems such a modern term, I would not have thought it existed when Hardy wrote it. I think of what they call "sub-divisions" in the United States now. And it would be a perfect realm and term in which to take a cat wandering the neighborhood in.

John, Hardy uses so many older English terms in some of his other poetry that it is a surprise when he uses a term that is considered to be "intermediate English" in the dictionary. Hardy missed the rural area of his childhood. Leasing a house in the suburbs of London may have been a compromise with Emma. Of course, we would have to go much further from the center of London to reach "the suburbs" today.

Jean, thank you for finding the print of the cat sitting in the window. That cat looks contented and warm.