The feeling that the characters are playing out a complex dance is not a coincidence. The story can be read as a variation on the traditional harlequinade, which in turn came from the old Italian Commedia dell'arte. In Victorian times, the harlequinade had become a popular form of theatre, burlesque and ballet. The characters and action in The Trumpet-Major mirror closely the characters and themes of this traditional form, as shown below.

Moreover, Hardy’s characters are not mere figments of his imagination; they are individuals deeply rooted in the historical context of the time. The protagonist, Anne Garland, embodies the struggles and aspirations of women during the Napoleonic era, while the Trumpet-Major himself represents the bravery and honor of the British military. By intertwining their personal stories with the larger historical events, Hardy creates a narrative that feels authentic and true to the time period. One of the central themes in the novel is the juxtaposition of love and war. Hardy skillfully portrays the complexities of romantic relationships amidst the chaos of battle, demonstrating how war can both strengthen and strain the bonds between lovers. Through the characters of Anne Garland and John Loveday, readers witness the challenges they face as they navigate their feelings for each other while being torn apart by the demands of war. Hardy’s depiction of the Napoleonic Wars is particularly interesting, as he provides a unique perspective on the conflict. Rather than focusing on the battles and military strategy, he instead focuses on the impact that the war had on the people of England. The novel explores the ways in which the war affected the lives of ordinary people, including the soldiers who fought in the conflict and the families they left behind.

This novel is based on stories told by his grandmother when he was a child and he fondly remembered her for the storyteller she was. Other sources include that Hardy, as a young man, would visit and spoke to the Chelsea Pensioners about the Peninsular War and the Hundred Days campaign in which Napoleon was utterly defeated by the British army of the Duke of Wellignton at the Battle of Waterloo. If these comic characters and interludes appear exaggerated, within the grand scheme of the novel as a whole, they are perfectly acceptable. Indeed, Hardy has given a convincing explanation of the art of fiction: ‘The whole secret of fiction and the drama – in the constructional part – lies in the adjustment of things unusual to things eternal and universal. The writer who knows exactly how exceptional, and how non-exceptional, his events should be made, possesses the key to the art’.viii Elsewhere Hardy adds, ‘Though a good deal is too strange to be believed, nothing is too strange to have happened’.ix

Irwin, Michael, ‘Readings in Melodrama’ in Gregor, Ian, Reading the Victorian Novel: Detail into Form, Vision Press Limited, London, 1980. The detail does give the narrative a memorability on which Hardy builds further by ensuring historical accuracy. Historical Accuracy In “The Trumpet-Major,” Thomas Hardy employs a unique language and style that reflects the time period in which the novel is set. The use of dialect and colloquialisms adds authenticity to the characters and their surroundings, while also highlighting the class differences between them. Hardy’s descriptive language paints vivid pictures of the landscape and the characters’ emotions, creating a rich and immersive reading experience. Additionally, the use of irony and satire adds a layer of social commentary to the novel, highlighting the absurdities of societal norms and expectations. Overall, Hardy’s language and style in “The Trumpet-Major” contribute to the novel’s depth and complexity, making it a compelling work of literature. Gender Roles and Relationships Matilda Johnson – Soubrette: Soubrette was a minor character in Commedia dell'arte, who sometimes married Harlequin, sometimes Pantaloon. Like Matilda, she is characterised by her loose morals, love of life and enjoyment of intrigue.Furthermore, Hardy’s attention to historical accuracy extends beyond the physical aspects of the novel. He delves into the political and social climate of the time, exploring the tensions between the British and the French, as well as the class divisions within British society. Through his characters’ interactions and dialogues, Hardy sheds light on the complexities of the era, offering readers a deeper understanding of the historical context in which the story unfolds. The Trumpet-Majorappeared in monthly instalments in the magazineGood Words, running from January to December 1880. In October 1880 it was published by Smith, Elder & Co. in three-volume form.

The play was again revived in 1912, for a performance at the Cripplegate Institute in London, which came with a very fine programme, including photos of the principal actors, engravings of Hardy's birthplace and ‘Casterbridge from Ten Hatches’ and the songs from the play, written by Hardy and with music by Harry Pouncy and Boyton Smith. [7] [8] In music and musicals [ edit ] Religion serves as a source of comfort and guidance for many characters, providing them with a moral compass and a sense of purpose. For Anne, her unwavering faith in God helps her navigate the challenges of love and loss, giving her strength and resilience. Similarly, the trumpet-major himself, John Loveday, finds solace in his religious convictions, which provide him with the courage to face the uncertainties of war. Unfortunately, Hardy, who was now 68 years old, couldn't attend the play as he was suffering from a chill, but Emma Hardy was there. He was, however, delighted by its reception. Like some of Hardy's other famous and popular novels such as Tess of the d'Urbervilles and The Mayor of Casterbridge such often implore and deal with deep concepts such as disappointment in love and the "perversity of life", but The Trumpet-Major also deal with these very themes present in many novels and poems which are often laid with a carefully controlled elegiac feeling and much irony in them that make them stand out among the Victorian classical works of literature. IN OCTOBER 1865 A YOUNG THOMAS HARDY, working as an architect with the firm of Blomfield in London, wrote enthusiastically to his sister Mary about attending Lord Palmerston’s funeral:Festus and Matilda are married, Anne and Bob are to be engaged, and John's regiment is posted away to battle in Spain, where, we are told, he will die.