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1) What is the significance of epigraph written by Hardy - 'Letter Killeth' - for this novel, Jude the Obscure?
The epigraph "The letter killeth" in Thomas Hardy's Jude the Obscure is a Biblical reference from 2 Corinthians 3:6, which states, “for the letter killeth, but the spirit giveth life.” Hardy's use of this phrase suggests a critique of rigid institutions and literal interpretations of societal, religious, and educational norms. In the novel, characters such as Jude and Sue are constrained by the "letter"—the rigid moral and social conventions of their society, particularly around marriage, education, and religion—which ultimately suffocate their aspirations and happiness.
Jude's ambition to pursue education and achieve a meaningful life is continually thwarted by the strict, exclusionary standards of the institutions he admires. Similarly, his and Sue’s attempts at an unconventional life together clash with social and religious expectations. This epigraph reflects Hardy's thematic exploration of the conflict between individual desires and restrictive societal expectations, suggesting that a literal adherence to rigid conventions can destroy the "spirit"—or the potential for authentic and fulfilling lives.
2) Is it possible to connect the meaning of the epigraph of 'Esdras' at the beginning of the first chapter of the novel and the myth of Bhasmasur?
Yes, the epigraph from Esdras and the myth of Bhasmasur can be connected thematically in Jude the Obscure. The epigraph from Esdras speaks to the pursuit of knowledge and ambition, reflecting Jude's desire for education and social advancement. However, this pursuit ultimately becomes destructive, similar to how the power given to Bhasmasur in Hindu mythology turns against him.
In the myth of Bhasmasur, the demon is granted the power to destroy anyone by touching them on the head, but he ultimately becomes a victim of his own power. Likewise, Jude's aspirations—fueled by societal ideals of education and success—lead to his downfall and suffering. Both stories illustrate the irony and danger of unchecked ambition: what initially seems desirable can ultimately become self-destructive. Hardy uses this connection to critique the rigid systems that promise success but often trap individuals within inescapable consequences.
3)Structure of the Novel 'Jude the Obscure
PLOT STRUCTURE
Structure of novel mainly divided according to central character of novel sue and jude as per their beliefs and ambition.
Sue
Sue begins as a skeptic, rejecting Christianity in favor of a more individualistic, free-thinking philosophy. However, after experiencing the death of her children and feeling guilty, she adopts a traditional Christian perspective, viewing her suffering as divine punishment for her sins.
Jude
Jude is initially drawn to the church, hoping to be a scholar and become a clergyman. However, he becomes disillusioned by the hypocrisy and rigidity of the institution, ultimately rejecting religious faith altogether as he faces repeated personal failures.
Relationships
In Jude the Obscure, marriage plays a central role in shaping the characters' struggles. Jude and Arabella’s marriage is based on deception and physical attraction, leading to an emotionally unfulfilling relationship. Sue’s first marriage to Phillotson is similarly devoid of love, rooted in societal expectations. When Sue and Jude form a relationship, their refusal to marry, despite deep affection, symbolizes their rejection of conventional social and religious norms. Ultimately, Sue's return to Phillotson after the children’s deaths reflects her submission to traditional Christian morality, sealing her tragic fate.
"Modern spirit "
"Tragedy of unfulfilled aims "
AUTHOR'S STYLE
Hardy's style has often been described as rather heavy and ponderous with awkward rhythms and a tendency towards circumlocution. For instance, Jude and Sue's reaction to the arrival of Little Father Time (in Part V, Chapter 5) provides a good example of Hardy's style: "To be sure, with such pleasing anxious beings as they were, the boy's coming also brought with it much thought for the future, particularly as he seemed at present to be singularly deficient in all the usual hopes of childhood. But the pair tried to dismiss, for a while at least, a too strenuously forward view." In the same chapter they take Little Father Time to the Agricultural show, "Not regretful of themselves alone, they had taken care to bring Father Time to try every means of making him kindle and laugh like other boys, though he was to some extent a hindrance to the delightfully unreserved intercourse in their pilgrimages which they so much enjoyed." The language at times seems stilted and deliberately pompous.
In this novel Hardy consciously tries to avoid too much authorial comment, but as a result his protagonists tend to lecture each other at length. There are long, erudite speeches on marriage, divorce and religion (Part IV, Chapter 3). Many of the conversations between Jude and Sue, and sometimes Phillotson, lack a true conversational tone.
Hardy is far more successful at catching the conversational tones of rustic characters and country folk, such as Aunt Drusilla (Part II, Chapter 6), who gives the reader glimpses of Sue as a child. Some of his earlier chapters, too, of Jude trying to combine study with work while driving his baker's wagon combine realism with humor (Part I). The same can also be said of the account of Jude's entrapment by Arabella.
Hardy's style, despite its few faults, is quite distinctive. His very clumsiness and roughness give his writing a striking individuality and charm. Unfortunately, unlike his other novels, Jude the Obscure does not offer the reader many descriptions of the Wessex countryside. In Tess of the D'Urbervilles and in The Woodlanders Hardy reaches a peak of excellence in using landscape to create atmosphere and to recreate varied pictures of rural life.
4)Research Article - Symbolic Indictment of Christianity - Norman Holland Jr. | University . of California
Norman Holland's article, "Jude the Obscure: Hardy’s Symbolic Indictment of Christianity," examines Thomas Hardy's novel as a powerful critique of organized religion and Victorian societal norms. In Jude the Obscure, Hardy uses the tragic life of Jude Fawley to reflect the failures of religious and social institutions, with Jude's spiritual suffering and loss symbolizing humanity’s struggle with faith in a secular, indifferent world. Holland argues that Hardy critiques not only Christianity but also society's inability to embody Christian ideals, exploring themes of existential alienation and societal condemnation of nonconformity.
Arabella's Animal
Arabella's Animal is symbol of ugliness,Unclear things, dirtiness etc. Hardy uses Arabella's relationship with animals, especially in the pig incident, to show her as grounded, pragmatic, and manipulative, highlighting a clash between Jude’s aspirations and the harsh, physical realities of life that Arabella represents.
Idea of religions
There are three religion that mention in Hardy's Novel.
1) Christianity
2) Jewish
3) Paganism
In Jude the Obscure, Hardy juxtaposes Christianity, paganism, and Jewish themes to explore human alienation and societal pressures. Christianity, especially through Sue and Jude’s internal conflicts, represents moral constraints, guilt, and societal norms that inhibit personal freedom. Pagan elements in the novel highlight natural instincts, sensuality, and freedom, portraying a way of life that contrasts with Christian repression. Jewish themes add a layer of “outsider” identity, emphasizing Jude’s estrangement and Hardy’s critique of a society that enforces conformity, marginalizing any deviation from its norms.
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