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Summary
Summary
'Wherefore is light given to him that is in misery, and life unto the bitter in soul?'Jude Fawley, poor and working-class, longs to study at the University of Christminster, but he is rebuffed, and trapped in a loveless marriage. He falls in love with his unconventional cousin Sue Bridehead, and their refusal to marry when free to do so confirms their rejection of and by the world around them. The shocking fate that overtakes them is an indictment of a rigid and uncaring society. Hardy's last and most controversial novel, Jude the Obscure caused outrage when it was published in 1895. This is the first truly critical edition, taking account of the changes that Hardy made over twenty-five years. It includes a new chronology and bibliography and substantially revised notes.
Summary
Jude Fawley's ambitions to go to university are thwarted by class prejudice and his entrapment in a loveless marriage. His doomed love affair with his unconventional cousin has tragic consequences. Hardy's last, and most controversial novel, this revised edition has the first truly critical text, a new chronology and bibliography, and substantially revised notes.
Author Notes
Thomas Hardy was born on June 2, 1840, in Higher Bockhampton, England. The eldest child of Thomas and Jemima, Hardy studied Latin, French, and architecture in school. He also became an avid reader.
Upon graduation, Hardy traveled to London to work as an architect's assistant under the guidance of Arthur Bloomfield. He also began writing poetry. How I Built Myself a House, Hardy's first professional article, was published in 1865. Two years later, while still working in the architecture field, Hardy wrote the unpublished novel The Poor Man and the Lady. During the next five years, Hardy penned Desperate Remedies, Under the Greenwood Tree, and A Pair of Blue Eyes. In 1873, Hardy decided it was time to relinquish his architecture career and concentrate on writing full-time.
In September 1874, his first book as a full-time author, Far from the Madding Crowd, appeared serially. After publishing more than two dozen novels, one of the last being Tess of the d'Urbervilles, Hardy returned to writing poetry--his first love. Hardy's volumes of poetry include Poems of the Past and Present, The Dynasts: Part One, Two, and Three, Time's Laughingstocks, and The Famous Tragedy of the Queen of Cornwall.
From 1885 until his death, Hardy lived in Dorchester, England. His house, Max Gate, was designed by Hardy, who also supervised its construction. Hardy died on January 11, 1928. His ashes are buried in Poet's Corner at Westminster Abbey.
(Bowker Author Biography)
Reviews (2)
Publisher's Weekly Review
The controversial tale of Jude Fawley and his unconventional relationship with his cousin, Sue Bridehead, is as fascinating today as it was when Hardy published the novel in 1895. Beautifully narrated by the gifted Neville Jason, this story of repression, judgment, and true love will appeal to listeners who love the classics. Jason's proper tone and slow pacing is a perfect fit for Hardy's prose. As Jude, Jason shifts his voice to become, by turns, optimistic and lovelorn, while the supporting characters are equally well crafted. The result is a truly memorable literary experience that demands repeated listens. (May) (c) Copyright PWxyz, LLC. All rights reserved.
Library Journal Review
Jude the Obscure created storms of scandal and protest for the author upon its publication. Hardy, disgusted and disappointed, devoted the remainder of his life to poetry and never wrote another novel. Today, the material is far less shocking. Jude Fawley, a poor stone carver with aspirations toward an academic career, is thwarted at every turn and is finally forced to give up his dreams of a university education. He is tricked into an unwise marriage, and when his wife deserts him, he begins a relationship with a free-spirited cousin. With this begins the descent into bleak tragedy as the couple alternately defy and succumb to the pressures of a deeply disapproving society. Hardy's characters have a fascinating ambiguity: they are victimized by a stern moral code, but they are also selfish and weak-willed creatures who bring on much of their own difficulties through their own vacillations and submissions to impulse. The abridgment speeds Jude's fall to considerable dramatic effect, but it also deletes the author's agonizing logic. Instead of the meticulous weaving of Jude's destiny, we get a somewhat incoherent summary that preserves the major plot points but fails to draw us into the tragedy. Michael Pennington reads resonantly and skillfully, his voice perfectly matching the grim music of Hardy's prose, but this recording can only be recommended for larger public libraries.--John Owen, Advanced Micro Devices, Sunnyvale, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
From Amy M. King's Introduction to Jude the Obscure Hardy's stature as a novelist when Jude the Obscure was published guaranteed him a certain degree of critical attention, but the attention he was to receive was so negative as to alter the course of his career. Jude the Obscure was Hardy's final novel. In one of the strangest turns in literary history, Hardy at the age of fifty-five turned to poetry, which he continued to write until his death in 1928 at the age of eighty-eight. In letters to close friends he pretends a somewhat jaunty indifference to the negative response to Jude , but in an essay entitled "The Profitable Reading of Fiction," which appeared in the journal Forum in 1888, Hardy's defensiveness about readers suggests the effect the reception of his novel would have upon him: A novel which does moral injury to a dozen imbeciles, and has bracing results upon a thousand intellects of normal vigor, can justify its existence. . . . It is unfortunately quite possible to read the most elevating works of imagination in our own or any language, and, by fixing the regard on the wrong sides of the subject, to gather not a grain of wisdom from them, nay, sometimes positive harm. What author has not had his experience of such readers?--the mentally and morally warped ones of both sexes, who will, where practicable, so twist plain and obvious meanings as to see in an honest picture of human nature an attack on religion, morals, or institutions. If Hardy had become wary of a certain kind of reader, his bitterness toward what he calls "the mentally and morally warped ones" did not prevent him from continuing to believe that such "imbeciles" numbered in the dozens, not the thousands. He continued to tinker with the novel in subsequent editions. In the 1903 edition he tempered the scene in which Arabella throws the pig genitals at Jude, while in the 1912 edition he introduces some two hundred small but nevertheless effectively important changes. These changes, which the edition you read here reflects, are generally considered to have been softening gestures to the depiction of Sue. For instance, as the bibliographical critic Robert Slack has shown, in the 1903 edition Jude threatens to return to Arabella unless Sue consents to live with him (and, it is inferred, become his sexual partner), and Sue agrees to it because he has "conquered" her; in the 1912 edition, Sue's acquiescence is the result of love. The key words "I do love you" are included seventeen years after the first publication of the novel. The revisions that Hardy makes go beyond an author's usual attention to errors in early editions. Jude clearly stayed with Hardy in the years following his switch to poetry, though whether we should understand that switch in light of a renunciation inspired by the extremity of the negative reaction to Jude or as an excuse for returning to the genre (poetry) with which he began his writing career is less certain; it was, if nothing else, a decisive one. Excerpted from Jude the Obscure by Thomas Hardy All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
