nevermore" (ln. 15). In "At Castle Boterel," Hardy is visiting another place from his past with Emma, and again the merciless movement of time, and the double vision of past and present, is a major theme. As long as Hardy is alive, the rocks on the hill will "record in colour and cast" (ln. 24) that Hardy and Emma had walked with their pony over the hill. This projection of Hardy's memory on the landscape is represented as "one phantom figure" (ln. 28) which is shrinking to nothing, because Hardy's "sand is sinking" (ln. 33). In other words, time is overtaking Hardy, and once he is gone, any record of the intimate moments between him and Emma will also be gone, although arguably at least for Hardy the quality of the experience, its intensity, outweighs the march of time. Themes Hardy used mythology, as well as the connection of landscape, to help articulate his memories of Emma, and communicate with the subliminal world in which Emma's voice resides. The stories of Tristan and Iseult (with their Cornish connection), Aeneas and Dido, and Orpheus and Eurydice, were all used to help articulate his feelings for, and mourning of, Emma. The theme of the "underworld" is especially prominent in his quest for his dead wife. While Hardy has been criticised for a too narrow use of mythology throughout his writings,, the legendary stories about mythological figures that had loved and lost, helped provide what William Buckler calls "mythic subtext" to Hardy's poems. The next issue that criticism of Hardy's poems focuses on is movement and communication. It has been noted by Marie A. Quinn that Hardy's use of the word "haunting" is his way of communicating and moving between worlds. Emma's death placed her centrally in Hardy's set of ghosts; and by including this haunting element in his poetry, Hardy can communicate with his dead wife, or at least articulate their miscommunication. Finally, critics have dealt with the issue of reconciliation and renewal. Critics have noted that Hardy in writing these poems reconciled and renewed himself. By placing the voice of his poems on the same plane as his dead wife, Hardy makes himself accessible to her in death. He spiritually renewed himself by dealing with his grief through the writing of these poems. Textual history Eighteen poems were included in the original Poems of 1912-13, but three more were added to