DOCSLIB.ORG

Jude the Obscure.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jude the Obscure.Pdf ’ JUDE THE OBSCURE T H was born in Higher Bockhampton, Dorset, on June ; his father was a builder in a small way of business, and he was educated locally and in Dorchester before being articled to an architect. After sixteen years in that profession and the publication of his earliest novel Desperate Remedies (), he determined to make his career in literature; not, however, before his work as an architect had led to his meeting, at St Juliot in Cornwall, Emma Gifford, who became his first wife in . In the s Hardy had written a substantial amount of unpublished verse, but during the next twenty years almost all his creative effort went into novels and short stories. Jude the Obscure, the last written of his novels, came out in , closing a sequence of fiction that includes Far from the Madding Crowd (), The Return of the Native (), Two on a Tower (), The Mayor of Casterbridge (), and Tess of the d’Urbervilles (). Hardy maintained in later life that only in poetry could he truly express his ideas; and the more than nine hundred poems in his collected verse (almost all published after ) possess great individuality and power. In Hardy was awarded the Order of Merit; in Emma died and two years later he married Florence Dugdale. Thomas Hardy died in January ; the work he left behind––the novels, the poetry, and the epic drama The Dynasts––forms one of the supreme achievements in English imaginative literature. P I is a Fellow and Tutor in English at St Anne’s College, Oxford. She has written the definitive analysis of how Jude the Obscure evolved during composition, as well as several other articles and chapters on Hardy. ’ For over years Oxford World’s Classics have brought readers closer to the world’s great literature. Now with over titles–– from the ,-year-old myths of Mesopotamia to the twentieth century’s greatest novels–– the series makes available lesser-known as well as celebrated writing. The pocket-sized hardbacks of the early years contained introductions by Virginia Woolf, T. S. Eliot, Graham Greene, and other literary figures which enriched the experience of reading. Today the series is recognized for its fine scholarship and reliability in texts that span world literature, drama and poetry, religion, philosophy and politics. Each edition includes perceptive commentary and essential background information to meet the changing needs of readers. OXFORD WORLD’S CLASSICS THOMAS HARDY Jude the Obscure Edited with an Introduction and Notes by PATRICIA INGHAM 1 3 Great Clarendon Street, Oxford Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto and an associated company in Berlin Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York Text, Introduction, Note on the Text, Explanatory Notes © Patricia Ingham 1985 Updated Select Bibliography © Patricia Ingham 2002 Chronology © Patricia Ingham 2002 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1985 Reissued as an Oxford World’s Classics paperback 1998 Revised edition 2002 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Hardy, Thomas, 1840–1928. Jude the obscure/Thomas Hardy; edited with an introduction and notes by Patricia Ingham. p. cm.–– (Oxford world’s classics) Updated select bibliography. Includes bibliographical references. ISBN 0–19–280261–5 1. Stonemasons–– Fiction. 2. Illegitimate children–– Fiction. 3. Unmarried couples–– Fiction. 4. Children–– Death–– Fiction. 5. Wessex (England)–– Fiction. 6. Adultery–– Fiction. I. Ingham, Patricia. II. Title. III. Oxford world’s classics (Oxford University Press). PR4746.A2.T39 2002 823′.8–– dc21 2001052326 ISBN 0–19–280261–5 13579108642 Typeset in Ehrhardt by RefineCatch Limited, Bungay, Suffolk Printed in Great Britain by Cox & Wyman Ltd. Reading, Berkshire GENERAL CONTENTS Acknowledgements vi General Editor’s Preface vii Map of Hardy’s Wessex viii Introduction xi Note on the Text xxii Select Bibliography xxvi A Chronology of Thomas Hardy xxix JUDE THE OBSCURE Explanatory Notes ACKNOWLEDGEMENTS F generous help of many kinds I should like to thank: the British Academy, the Fitzwilliam Museum, Penny Boumelha, Simon Gatrell, the late Juliet Grindle, Sheila Parsons, Richard Little Purdy, and Kathy Swift. GENERAL EDITOR’S PREFACE T first concern in the Oxford World’s Classics editions of Hardy’s works has been with the texts. Individual editors have compared every version of the novel or stories that Hardy might have revised, and have noted variant readings in words, punctuation and styling in each of these substantive texts; they have thus been able to exclude much that their experience suggests that Hardy did not intend. In some cases this is the first time that the novel has appeared in a critical edition purged of errors and oversights; where possible Hardy’s manuscript punctuation is used, rather than what his compositors thought he should have written. Some account of the editor’s discoveries will be found in the Note on the Text in each volume, while the most interesting revisions their work has revealed are included as an element of the Explana- tory Notes. In some cases a Clarendon Press edition of the novel provides a wealth of further material for the reader interested in the way Hardy’s writing developed from manuscript to final collected edition. I should like to thank Shirley Tinkler for her help in drawing the maps that accompany each volume. This page intentionally left blank INTRODUCTION A the crude irony of the first printed title, The Simpletons, its lurid replacement Hearts Insurgent, and the weakly descriptive suggestion The Recalcitrants, Jude the Obscure seems satisfactorily precise and untheatrical. But its asymmetry has the effect of over- emphasizing the male protagonist; and the apparent protest at his fate has drawn attention to the parallels with Hardy’s own life. Edi- tors have felt documentation of the autobiographical element was essential: Jude as Hardy, Sue as Mary Hardy–Emma Gifford– Florence Henniker all in one, and many details to be spelled out, even if they do not include a fictitious son by his cousin Tryphena to represent Little Father Time. This evidence is produced partly to refute Hardy’s typically devious denial that there is ‘a scrap of personal detail in it’.1 But Hardy’s obfuscations are often oblique truths and perhaps he was right to throw the critic off that particular scent. In relation to the novel such information is trivial; it tells the biographer nothing he does not know already and critically it is a distraction. It diverts attention from the profounder sense in which Jude relates to its own time by engaging with three major forces in late Victorian society. These are the middle-class stranglehold on access to the most pres- tigious university education and on its content; the awareness of women that the self-estimates and roles forced on them by a patri- archal society were not the only possible ones; and the unresolved tension evoked by an established Christianity which for many had lost rational justification, but which was still socially and imaginatively powerful. Such a schema is crudely sociological and reductive, whereas the novel itself struggles to express essentially hostile attitudes to these forces, which reach the reader as the ‘series of seemings’ that Hardy refers to in his original Preface. Only the surface symmetry of the story matches the simplicity of the schematized outline: Jude’s hope- ful and despairing visits to Christminster; Jude and Sue both unsuit- ably married, divorced, and captured in the same marriage trap 1 F. E. Hardy, The Later Years of Thomas Hardy (London, ), . xii Introduction again; the contrast of ‘flesh and spirit’ represented by Arabella and Sue, appealing to the two sides of Jude’s nature; Arabella’s child killing Sue’s children; Jude liberated by grief, Sue subjugated by it. This symmetrical and stylized design runs through the details of the work: in the double seduction by Arabella, the double reference to Samson, Sue praying to Venus and Apollo, then prostrate on the floor of the ‘ritual church’, St Silas, a black heap contrasting with the white heap she made when she leapt from Phillotson’s bedroom window. But the design is merely a grid superimposed with a spe- cious neatness on a presentation of turbulent contradictory views of the three subjects. The epigraph to the whole novel, ‘The letter killeth’, would make a better title, its meaning refracted by each of the three themes. The incompleteness of the quotation is vital: in no part of the story does ‘the spirit’ give life. The account of failed academic hopes has, unlike the sexual story, often been read simplistically, particularly when taken as a reflection of Hardy’s own university hopes thwarted by poverty and lack of influence.
Load more

Recommended publications
  • The Issue of Environmental Degradation and Thomas Hardy's
    The Issue of Environmental Degradation And Thomas Hardy’s The Woodlanders Dr Gayatri Goswami Associate Professor & HOD Department of English, Sibsagar College, Joysagar India Thomas Hardy’s The Woodlanders, published in the book form in the year 1887 is a depiction of a transitional moment of history in which a new phase surpassing the old influences the lives of the people of that period. In fact The Woodlanders is a quaint story of woodland life focalizing the pain of struggle. It presents the story of betrayal, adultery and disillusion expressing Hardy’s acute awareness of the troubling dilemmas of a transitional moment. Here, he portrays pre-industrial England articulating the gradual but irrevocable and all-pervasive effect of industrialization resulting in change and transformation everywhere. Throughout the novel all-pervasive presence of nature can be perceived. So, this paper is intended to explore Thomas Hardy’s The Woodlanders from ‘ecocritical’ stance which affords an interesting insight into the inevitability of natural world in the human world depicting some moments of interdependence in the narrative of the novel. Because: Ecocriticism is literary and cultural criticism from an environmentalist viewpoint. Texts are evaluated in terms of their environmentally harmful or helpful effects. Beliefs and ideologies are for their environmental implications.(Waugh, 530) Thus addressing the issue of environment in the narrative of the fictional world of Hardy’s The Woodlanders, this paper is an endeavour to focus on the environmental issue of a transitional moment. Moreover, this investigation further sheds light how nature penetrates into human life manifesting mutual dependence. The basic assumption with which the novel is analysed is that nature in the novel is not just a device or setting, here the significance of nature lies in functioning as a parallel to human thought and action.
    [Show full text]
  • Tiny Creatures, Trophic Pyramids and Hardy's <I>The Dynasts</I>
    STUDENT ESSAY COMPETITION TINY CREATURES, TROPHIC PYRAMIDS AND HARDY’S THE DYNASTS ELLE EVERHART Thomas Hardy has a tendency to focus on the small. Occasionally stopping narr- ative, he will pay detailed attention to the physical environment and the small, often unnoticed, creatures that populate it. This connection to the natural stretches across Hardy’s fiction and his poetry, including his epic verse drama The Dynasts, published in the early years of the twentieth century. Through the surrounding prose, dialogue, and the characters themselves, The Dynasts demonstrates Hardy’s assertion that the natural world is inseparable from the humans that exist within it. In this piece, I address these creatures and argue that we can read Hardy’s narratives through the ecological concept of the trophic pyramid, a hierarchy that attempts to structure energy flow through a particular ecological system. Reading Hardy’s narratives in this way allows us to envision the theoretical orientation of these creatures in relation to their human counterparts and further imagine their position in the overall structure of the narrative environment. Keywords: The Dynasts, Animal Studies, Ecology, Trophic Pyramids, Ecocriticism NSECTS AND OTHER small nonhuman animals rarely receive any critical attention. Creeping and crawling their way through any number of literary texts, I these tiny creatures remain untouched, unnoticed, and unloved. Their presence, though, reminds us of the physical earth we inhabit and the living beings we are related to, including the little animals that we (more often than not) tend to forget. Thomas Hardy’s work often pays close attention to such tiny creatures, pulling the focus away from the central human characters to examine the impact of these humans (and “the human” more generally) upon the lives of the animals that make their home in his narrative universe.
    [Show full text]
  • Idea and Execution in Jude the Obscure
    Colby Quarterly Volume 9 Issue 10 June Article 3 June 1972 Idea and Execution in Jude the Obscure A. F. Cassis Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 9, no.10, June 1972, p.501-509 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Cassis: Idea and Execution in Jude the Obscure Colby Library Quarterly Series IX ,Tline 1972 No. 10 IDEA AND EXECUTION IN JUDE THE OBSCURE By A. F. CASSIS ~~T HERE HAS BEEN no such tragedy in fiction - on anything like the same lines - since he [Balzac] died," wrote Swin­ burne to Hardy after reading Jude the Obscure. Ten days after the publication of the novel, Hardy wrote to a "close friend": "You have hardly an idea how poor and feeble the book seems to me, as executed, beside the idea of it that I had formed in prospect."! Eight weeks later, to the same friend, he described it as "a mass of imperfections."2 Our purpose is to discover any "imperfections" in the tragedy and assess the "execution" in the light of the "idea." When he wrote the novel, Hardy believed that the greatest tragedy was "an excursion, a revelation of soul's unreconciled to life."3 This is why Jude, the only one of Hardy's characters whose life is traced from childhood to premature death, is en­ dowed with a sensitivity that amounts to a weakness and so feels "the pricks of life somewhat before his time." Dreams of aca­ demic distinction which develop into a ruling passion aggravate Jude's unreconcilement to life at Marygreen especially as Christ­ minster acquires a "tangibility, a permanence, a hold on his life."4 A blank refusal from one College brings his dreams to an abrupt end and the tragedy of "unfulfilled aims" comes to the forefront.
    [Show full text]
  • Of Desperate Remedies
    Colby Quarterly Volume 15 Issue 3 September Article 6 September 1979 Tess of the d'Urbervilles and the "New Edition" of Desperate Remedies Lawrence Jones Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 15, no.3, September 1979, p.194-200 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Jones: Tess of the d'Urbervilles and the "New Edition" of Desperate Reme Tess of the d'Urbervilles and the "New Edition" of Desperate Remedies by LAWRENCE JONES N THE autumn of 1884, Thomas Hardy was approached by the re­ I cently established publishing firm of Ward and Downey concerning the republication of his first novel, Desperate Remedies. Although it had been published in America by Henry Holt in his Leisure Hour series in 1874, the novel had not appeared in England since the first, anony­ mous publication by Tinsley Brothers in 1871. That first edition, in three volumes, had consisted of a printing of 500 (only 280 of which had been sold at list price). 1 Since that time Hardy had published eight more novels and had established himself to the extent that Charles Kegan Paul could refer to him in the British Quarterly Review in 1881 as the true "successor of George Eliot," 2 and Havelock Ellis could open a survey article in the Westminster Review in 1883 with the remark that "The high position which the author of Far from the Madding Crowd holds among contemporary English novelists is now generally recognized." 3 As his reputation grew, his earlier novels were republished in England in one-volume editions: Far from the Madding Crowd, A Pair of Blue Eyes, and The Hand ofEthelberta in 1877, Under the Greenwood Tree in 1878, The Return of the Native in 1880, A Laodicean in 1882, and Two on a Tower in 1883.
    [Show full text]
  • Thomas Hardy and His Funerals
    THE EUROPEAN JOURNAL OF LIFE WRITING VOLUME IX (2020) LW&D132–LW&D150 Till Death Did Him Part: Thomas Hardy and His Funerals Charles Lock University of Copenhagen [J.M. Barrie] was especially tickled by Hardy’s preoccupation with plans for his own burial—plans, continuously changed. ‘One day Hardy took me . to see the place where he’s to be buried, and the next day he took me to see the place where he would like next best to be buried. Usually he says he is to be buried between his wives; but sometimes, so many inches nearer the first; sometimes, so many inches nearer to the second.’ Cynthia Asquith, Portrait of Barrie (London: James Barrie, 1954), p. 107 The wrongness of two funerals and the wretchedness of Florence’s later years bring a sombre end to any account of Hardy. Claire Tomalin, Thomas Hardy: The Time-Torn Man (London: Penguin, 2006), p. 377 ABSTRACT This essay considers Hardy’s two funerals—for his ashes at Poets’ Corner, for his heart at Stinsford—in the light of their consequences for life-writing: the absence of a single resting-place, and the narrative demands of synchronicity in telling of two funerals. This division of the body was the consequence of an extraordinary lack of precision in Hardy’s own will, the composition, wording and interpretation of which are examined here in some detail. Attention is also paid to the single grave at Stinsford that holds the remains of Hardy and both his wives in diverse modalities of the invisible. Keywords: Thomas Hardy, wills and testaments, ashes, funerals, heart-burials European Journal of Life Writing, Vol IX, 132–150 2020.
    [Show full text]
  • Jude the Obscure
    Colby Quarterly Volume 27 Issue 3 September Article 6 September 1991 Highways and Cornfields: Space and Time in the Narration of Jude the Obscure Janet H. Freeman Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 27, no.3, September 1991, p.161-173 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Freeman: Highways and Cornfields: Space and Time in the Narration of Jude Highways and Cornfields: Space and Time in the Narration of Jude the Obscure by JAN ET H. FREE MAN A small slow voice rose from the shade ofthe fireside. as ifoul of the earth: "IfI was you, mother, I wouldn't marryfather!"father!"' It came from little Time, and they started, for they hadforgotten him. (V,4,223)(V,4,223j OTION is like breathing in Jude the Obscure: it is both a sign of life and a M sign of what life is like. As long as he lives, Jude Fawley never stops moving from place to place, sometimes deliberately, as when-"having always fancied himself arriving thus"l-he gets Ollt of the cart and makes his first entrance into Christminster walking on his own two feet; sometim€s uncon­ sciously, as when he and Arabella walk very far from horne on their first afternoon together; or impulsively, as when he and Sue, havingjust met, walk out to Lunlsdon in search of PhilJotson.
    [Show full text]
  • A Return to Nature
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives A Return to Nature A Critique of the Pastoral in Thomas Hardy’s The Return of the Native By Hege Christine Sørensen Isaksen Master’s Thesis Department of Foreign Languages University of Bergen May 2015 Summary in Norwegian Denne avhandlingen er en økokritisk studie av hvordan Thomas Hardys verk The Return of the Native (1878) fungerer som en kritikk av den pastorale sjangeren. Analysen baserer seg på en tolkning der Return er skrevet innenfor den pastorale sjangerens rammeverk, og der Hardys kritikk er skjult i selve sjangeren den kritiserer. Min påstand er at denne kritikken retter seg mot romantiseringen av den kultiverende bonden, som utnytter naturen til sin egen fordel, heller enn mot den oftere kritiserte mangelfulle evnen til å erkjenne den hardtarbeidende bondens evinnelige slit. Tilnærmingen til analysen baserer seg på en retning innenfor økokritikken kalt dypøkologi (deep ecology), slik den ble introdusert av Arne Næss. Næss vektlegger spesielt at ”[t]he flourishing of human and non-human life on Earth has intrinsic value”, og ”that the value of non-human life forms is independent of the usefulness these may have for narrow human purposes” (Naess, 1989). Som et annet element i analysen tar jeg utgangspunkt i at Hardys landskap Egdon Heath er en egen karakter og aktør, som gis aktørrettigheter til å handle for både seg selv og på vegne av sine menneskelige motstykker. Forholdene og sammenhengen mellom landskapet og Hardys menneskelige karakterer er videre analysert i detalj, der karakterene Clym Yeobright, Diggory Venn og Eustacia Vye vies ekstra oppmerksomhet.
    [Show full text]
  • Thomas Hardy
    Published on Great Writers Inspire (http://writersinspire.org) Home > Thomas Hardy Thomas Hardy Thomas Hardy (1840-1928), novelist and poet, was born on 2 June 1840, in Higher Bockhampton, Dorset. The eldest child of Thomas Hardy and Jemima Hand, Hardy had three younger siblings: Mary, Henry, and Katharine. Hardy learned to read at a very young age, and developed a fascination with the services he regular attended at Stinsford church. He also grew to love the music that accompanied church ritual. His father had once been a member of the Stinsford church musicians - the group Hardy later memorialised in Under the Greenwood Tree - and taught him to play the violin, with the pair occasionally performing together at local dance parties. Whilst attending the church services, Hardy developed a fascination for a skull which formed part of the Grey family monument. He memorised the accompanying inscription (containing the name 'Angel', which he would later use in his novel Tess of the d'Urbervilles [1]) so intently that he was still able to recite it well into old age. [2] Thomas Hardy By Bain News Service [Public domain], via Wikimedia Commons Adulthood Between the years of 1856-1862, Hardy worked as a trainee architect. He formed an important friendship with Horace Moule. Moule - eight years Hardy's senior and a Cambridge graduate - became Hardy's intellectual mentor. Horace Moule appears to have suffered from depression, and he committed suicide in 1873. Several of Hardy's poems are dedicated to him, and it is thought some of the characters in Hardy's fiction were likely to have been modeled on Moule.
    [Show full text]
  • Prelims- 1..26
    THE CAMBRIDGE COMPANION TO THOMAS HARDY EDITED BY DALE KRAMER published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge cb21rp, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, United Kingdom http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011±4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia # Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Sabon 10/13 pt. [ce] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data The Cambridge companion to Thomas Hardy / edited by Dale Kramer. p. cm. Includes bibliographical references and index. isbn 0 521 56202 3 ± isbn 0 521 56692 4 (paperback) 1. Hardy, Thomas, 1840±1928 ± Criticism and interpretation. I. Kramer, Dale, 1936± . pr4754.c23 1999 823'.8±dc21 98±38088 cip isbn 0 521 56202 3 hardback isbn 0 521 56692 4 paperback CONTENTS Notes on contributors page xi Preface xv A chronology of Hardy's life and Publications xviii List of abbreviations and texts xxiii 1 Thomas Hardy: the biographical sources 1 MICHAEL MILLGATE 2 Wessex 19 SIMON GATRELL 3 Art and aesthetics 38 NORMAN PAGE 4 The in¯uence of religion, science, and philosophy on Hardy's writings 54 ROBERT SCHWEIK 5 Hardy and critical theory 73 PETER WIDDOWSON 6 Thomas Hardy and matters of gender 93 KRISTIN BRADY 7 Variants on genre: The Return of the Native, The Mayor of Casterbridge, The Hand of Ethelberta 112 JAKOB LOTHE 8 The patriarchy of class: Under the Greenwood Tree, Far from the Madding Crowd, The Woodlanders 130 PENNY BOUMELHA ix contents 9 The radical aesthetic of Tess of the d'Urbervilles 145 LINDA M.
    [Show full text]
  • Wessex Tales
    COMPLETE CLASSICS UNABRIDGED Thomas Hardy Wessex Tales Read by Neville Jason 1 Preface 4:04 2 An Imaginative Woman 7:51 3 The Marchmill family accordingly took possession of the house… 7:06 4 She thoughtfully rose from her chair… 6:37 5 One day the children had been playing hide-and-seek… 7:27 6 Just then a telegram was brought up. 5:31 7 While she was dreaming the minutes away thus… 6:10 8 On Saturday morning the remaining members… 5:30 9 It was about five in the afternoon when she heard a ring… 4:36 10 The painter had been gone only a day or two… 4:39 11 She wrote to the landlady at Solentsea… 6:26 12 The months passed… 5:12 13 The Three Strangers 7:58 14 The fiddler was a boy of those parts… 5:57 15 At last the notes of the serpent ceased… 6:19 16 Meanwhile the general body of guests had been taking… 5:13 17 Now the old mead of those days… 5:21 18 No observation being offered by anybody… 6:13 19 All this time the third stranger had been standing… 5:31 20 Thus aroused, the men prepared to give chase. 8:01 21 It was eleven o’clock by the time they arrived. 7:57 2 22 The Withered Arm Chapter 1: A Lorn Milkmaid 5:22 23 Chapter 2: The Young Wife 8:55 24 Chapter 3: A Vision 6:13 25 At these proofs of a kindly feeling towards her… 3:52 26 Chapter 4: A Suggestion 4:34 27 She mused on the matter the greater part of the night… 4:42 28 Chapter 5: Conjuror Trendle 6:53 29 Chapter 6: A Second Attempt 6:47 30 Chapter 7: A Ride 7:27 31 And then the pretty palpitating Gertrude Lodge… 5:02 32 Chapter 8: A Waterside Hermit 7:30 33 Chapter 9: A Rencounter 8:06 34 Fellow Townsmen Chapter 1 5:26 35 Talking thus they drove into the town.
    [Show full text]
  • A Commentary on the Poems of THOMAS HARDY
    A Commentary on the Poems of THOMAS HARDY By the same author THE MAYOR OF CASTERBRIDGE (Macmillan Critical Commentaries) A HARDY COMPANION ONE RARE FAIR WOMAN Thomas Hardy's Letters to Florence Henniker, 1893-1922 (edited, with Evelyn Hardy) A JANE AUSTEN COMPANION A BRONTE COMPANION THOMAS HARDY AND THE MODERN WORLD (edited,for the Thomas Hardy Society) A Commentary on the Poems of THOMAS HARDY F. B. Pinion ISBN 978-1-349-02511-4 ISBN 978-1-349-02509-1 (eBook) DOI 10.1007/978-1-349-02509-1 © F. B. Pinion 1976 Softcover reprint of the hardcover 15t edition 1976 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission First published 1976 by THE MACMILLAN PRESS LTD London and Basingstoke Associated companies in New York Dublin Melbourne Johannesburg and Madras SBN 333 17918 8 This book is sold subject to the standard conditions of the Net Book Agreement Quid quod idem in poesi quoque eo evaslt ut hoc solo scribendi genere ..• immortalem famam assequi possit? From A. D. Godley's public oration at Oxford in I920 when the degree of Doctor of Letters was conferred on Thomas Hardy: 'Why now, is not the excellence of his poems such that, by this type of writing alone, he can achieve immortal fame ...? (The Life of Thomas Hardy, 397-8) 'The Temporary the AU' (Hardy's design for the sundial at Max Gate) Contents List of Drawings and Maps IX List of Plates X Preface xi Reference Abbreviations xiv Chronology xvi COMMENTS AND NOTES I Wessex Poems (1898) 3 2 Poems of the Past and the Present (1901) 29 War Poems 30 Poems of Pilgrimage 34 Miscellaneous Poems 38 Imitations, etc.
    [Show full text]
  • Jude the Obscure 4 5 by Thomas Hardy 6
    Penguin Readers Factsheets l e v e l E T e a c h e r’s n o t e s 1 2 3 Jude the Obscure 4 5 by Thomas Hardy 6 UPPER S U M M A R Y INTERMEDIATE ude the Obscure, published in 1896, shocked its (1874), The Return of the Native (1878), Tess of the J readers for being ’indecent’. Deeply upset by the D’Urbevilles (1891 and Jude the Obscure. His home was reaction to the book, Hardy never wrote another in Dorset, but he spent part of the year in London, where novel, but turned instead to poetry. Today, the book is a he mixed with literary people and was much admired. He landmark in the history of the British novel, dealing with never felt entirely comfortable in this society, however, relationships between men and women with great realism. and could never forget his country roots. A number of A film ’Jude’ was made in 1996, starring the Oscar- biographers have protrayed Hardy as a snobbish, mean winning Kate Winslet. pessimist and woman-hater. A recent, much praised The novel tells the story of a poor, lonely orphan, Jude biography, however, claims that this is wrong; it depicts Fawley, who dreams of going to university and becoming Hardy as a sensitive man who cared deeply about his a clergyman. Jude is trapped into marriage by Arabella, a fellow beings. barmaid, who then leaves him. He starts work as a Hardy became famous, but critics complained about the stonemason and falls in love with his unconventional immorality and pessimism of his books.
    [Show full text]