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The result, I would suggest, is a curious sense of posthumousness, a sense developed more thoroughly in the Okabena sections of 'Speaking of Courage'.
A wide range of other topics, texts, and critical approaches is addressed by, for example, Mary Jacobus's study of Hardy's literary posthumousness, Wayne Anderson's discussion of his 'rhetoric of silence', Avrom Fleishman's commentary on Egdon Heath, Simon Gatrell's analysis of buildings in The Trumpet-Major, A Laodicean, and Two on a Tower, John Bayley's reading of The Woodlanders as social comedy, Elliott Gose's consideration of Tess in relation to Victorian anthropology, and Kathleen Blake's examination of Tess herself both as individual and as abstraction or type.
Cacciari speaks of posthumousness in terms of character transience, as the infinitely unknowable being locked up in texts that will never satisfy our passageway to the person-in-himself: "Posthumous people go through an infinite number of masks without ever staying with any one of them" (4).