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He is thus equally alert to the need for disguise and to the possibility that what one sees will be misunderstood, and particularly preoccupied with observation in unguarded moments. Seeing, like writing, both exposes and disguises, and unpredictably. Self-consciousness and seeing are complexly interconnected, each visual event shaped in its significance by the degree to which observed and observer are alert to their conditions. Hardy's astonishing powers of natural description normally depend on the narrator's deep consciousness of the pervasiveness of watching and nature's relentless indifference to what the human sees. But his and his characters' observations of the human always risk the limitation of the observer's perspective, and the self-consciousness of the observed. Seeing does not necessarily empower, but it frequently wounds. -536- Self-consciousness in seeing is often imaged in Hardy by moments when the visual is framed quite literally, by windows. (Spying, an activity abundantly present in almost all of Hardy's novels, serves also to «frame» the visual.) Such framing can be taken as representative of Hardy's own writing, for while it provides an opening between two otherwise alien, distinct, and unself-consciously isolated worlds, it also implies incompleteness of connection ...»