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Hardy, Thomas Jude the Obscure ISBN 13 : 9781593080358

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Part First at Marygreen


“Yea, many there be that have run out of their wits for women, and become servants for their sakes. Many also have perished, have erred, and sinned, for women. . . . O ye men, how can it be but women should be strong, seeing they do thus?” —Esdras.

I.-i.

The schoolmaster was leaving the village, and everybody seemed sorry. The miller at Cresscombe1 lent him the small white tilted cart and horse to carry his goods to the city of his destination, about twenty miles off, such a vehicle proving of quite sufficient size for the departing teacher’s effects. For the schoolhouse had been partly furnished by the managers, and the only cumbersome article possessed by the master, in addition to the packing-case of books, was a cottage piano that he had bought at an auction during the year in which he thought of learning instrumental music. But the enthusiasm having waned he had never acquired any skill in playing, and the purchased article had been a perpetual trouble to him ever since in moving house.

The rector had gone away for the day, being a man who disliked the sight of changes. He did not mean to return till the evening, when the new school-teacher would have arrived and settled in, and everything would be smooth again.

The blacksmith, the farm bailiff, and the schoolmaster himself were standing in perplexed attitudes in the parlour before the instrument. The master had remarked that even if he got it into the cart he should not know what to do with it on his arrival at Christminster, the city he was bound for, since he was only going into temporary lodgings just at first.

A little boy of eleven, who had been thoughtfully assisting in the packing, joined the group of men, and as they rubbed their chins he spoke up, blushing at the sound of his own voice: “Aunt have got a great fuel-house, and it could be put there, perhaps, till you’ve found a place to settle in, sir.”

“A proper good notion,” said the blacksmith.

It was decided that a deputation should wait on the boy’s aunt—an old maiden resident—and ask her if she would house the piano till Mr. Phillotson should send for it. The smith and the bailiff started to see the practicability of the suggested shelter, and the boy and the schoolmaster were left standing alone.

“Sorry I am going, Jude?” asked the latter kindly.

Tears rose into the boy’s eyes, for he was not among the regular day scholars, who came unromantically close to the schoolmaster’s life, but one who had attended the night school only during the present teacher’s term of office. The regular scholars, if the truth must be told, stood at the present moment afar off, like certain historic disciples, indisposed to any enthusiastic volunteering of aid.

The boy awkwardly opened the book he held in his hand, which Mr. Phillotson had bestowed on him as a parting gift, and admitted that he was sorry.

“So am I,” said Mr. Phillotson.

“Why do you go, sir?” asked the boy.

“Ah—that would be a long story. You wouldn’t understand my reasons, Jude. You will, perhaps, when you are older.”

“I think I should now, sir.”

“Well—don’t speak of this everywhere. You know what a university is, and a university degree? It is the necessary hall-mark of a man who wants to do anything in teaching. My scheme, or dream, is to be a university graduate, and then to be ordained. By going to live at Christminster, or near it, I shall be at headquarters, so to speak, and if my scheme is practicable at all, I consider that being on the spot will afford me a better chance of carrying it out than I should have elsewhere.”

The smith and his companion returned. Old Miss Fawley’s fuel-house was dry, and eminently practicable; and she seemed willing to give the instrument standing-room there. It was accordingly left in the school till the evening, when more hands would be available for removing it; and the schoolmaster gave a final glance round.

The boy Jude assisted in loading some small articles, and at nine o’clock Mr. Phillotson mounted beside his box of books and other impedimenta, and bade his friends good-bye.

“I shan’t forget you, Jude,” he said, smiling, as the cart moved off. “Be a good boy, remember; and be kind to animals and birds, and read all you can. And if ever you come to Christminster remember you hunt me out for old acquaintance’ sake.”

The cart creaked across the green, and disappeared round the corner by the rectory-house. The boy returned to the draw-well at the edge of the greensward, where he had left his buckets when he went to help his patron and teacher in the loading. There was a quiver in his lip now, and after opening the well-cover to begin lowering the bucket he paused and leant with his forehead and arms against the frame-work, his face wearing the fixity of a thoughtful child’s who has felt the pricks of life somewhat before his time. The well into which he was looking was as ancient as the village itself, and from his present position appeared as a long circular perspective ending in a shining disk of quivering water at a distance of a hundred feet down. There was a lining of green moss near the top, and nearer still the hart’s-tongue fern.

He said to himself, in the melodramatic tones of a whimsical boy, that the schoolmaster had drawn at that well scores of times on a morning like this, and would never draw there any more. “I’ve seen him look down into it, when he was tired with his drawing, just as I do now, and when he rested a bit before carrying the buckets home! But he was too clever to bide here any longer—a small sleepy place like this!”

A tear rolled from his eye into the depths of the well. The morning was a little foggy, and the boy’s breathing unfurled itself as a thicker fog upon the still and heavy air. His thoughts were interrupted by a sudden outcry:

“Bring on that water, will ye, you idle young harlican!”

It came from an old woman who had emerged from her door towards the garden gate of a green-thatched cottage not far off. The boy quickly waved a signal of assent, drew the water with what was a great effort for one of his stature, landed and emptied the big bucket into his own pair of smaller ones, and pausing a moment for breath, started with them across the patch of clammy greensward whereon the well stood—nearly in the centre of the little village, or rather hamlet of Marygreen.

It was as old-fashioned as it was small, and it rested in the lap of an undulating upland adjoining the North Wessex downs. Old as it was, however, the well-shaft was probably the only relic of the local history that remained absolutely unchanged. Many of the thatched and dormered dwelling-houses had been pulled down of late years, and many trees felled on the green. Above all, the original church, humpbacked, wood-turreted, and quaintly hipped, had been taken down, and either cracked up into heaps of road-metal in the lane, or utilized as pig-sty walls, garden seats, guard-stones to fences, and rockeries in the flower-beds of the neighbourhood. In place of it a tall new building of modern Gothic design, unfamiliar to English eyes, had been erected on a new piece of ground by a certain obliterator of historic records8 who had run down from London and back in a day. The site whereon so long had stood the ancient temple to the Christian divinities was not even recorded on the green and level grass-plot that had immemorially been the churchyard, the obliterated graves being commemorated by eighteen-penny cast-iron crosses warranted to last five years.
Biographie de l'auteur :
Thomas Hardy was born in 1840 near Dorchester, the son of a builder. His education was rural and fairly ordinary, giving him a mixture of folklore, the realities of rural life, English literature and church music which was to be reflected in his novels. Apprenticeship and office work in architecture from 1856 to 1867 brought him into contact with London, and also saw him submitting poetry for magazine publication, but without success. He returned to Dorchester and started writing novels, the first published being Desperate Remedies in 1871. Far From the Madding Crowd, in 1874, was a runaway success and made him economically secure, and while moving around England and the Continent before settling back in the West Country in the following years Hardy wrote a string of major novels and short-story collections. The reception of Jude the Obscure (1895), however, led him to give up novels and return to poetry, which he wrote prolifically and eclectically, from lyrics to the three-part epic drama The Dynasts, from 1989 until his death, having peacefully receded into a literary establishment figure, in 1928.

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  • ÉditeurFine Communications,US
  • Date d'édition2003
  • ISBN 10 1593080352
  • ISBN 13 9781593080358
  • ReliureBroché
  • Nombre de pages480
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Description du livre Softcover. Etat : New. &&LDIV&&R&&LDIV&&R&& LDIV&&R&&LI&&RJude the Obscure&&L/I&&R, by &&LB&&RThomas Hardy&&L/B&&R, is part of the &&LI&&RBarnes & Noble Classics&&L/I&&R&&LI&&R &&L/I&&Rseries, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of &&LI&&RBarnes & Noble Classics&&L/I&&R: &&LDIV&&R New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriate All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. &&LI&&RBarnes & Noble Classics &&L/I&&Rpulls together a constellation of influences-biographical, historical, and literary-to enrich each reader's understanding of these enduring works.&&L/DIV&&R&&L/DIV&&R&&LP style="MARGIN: 0in 0in 0pt"&&R &&L/P&&R&&LP style="MARGIN: 0in 0in 0pt"&&RVirginia Woolf called him the greatest tragic writer among English novelists, but &&LSTRONG&&RThomas Hardy&&L/B&&R was so distressed by the shocked outrage that greeted &&LI&&RJude the Obscure&&L/I&&R in 1895 that he decided to quit writing novels. For in telling the story of Jude Fawley, whose many attempts to rise above his class are crushed by society or the forces of nature, Hardy had attacked Victorian societys most cherished institutions-marriage, social class, religion, and higher education. &&L/P&&R&&LP style="MARGIN: 0in 0in 0pt"&&R &&L/P&&R&&LP style="MARGIN: 0in 0in 0pt"&&RA poor villager, Jude Fawley longs to study at the elite University of Christminster, but his ambitions are thwarted by class prejudice-and an earthy country girl who tricks him into marriage by pretending to be pregnant. Entrapped in a loveless marriage, he becomes a stonemason and falls in love with his cousin-the intellectual, free-spirited Sue Bridehead, who is also unhappy in marriage. Sue leaves her husband to live with Jude and eventually bears his children out of wedlock. Their poverty and the weight of societys disapproval begin to take their toll on the couple, forcing them into a shattering downward spiral that ends in one of the most shocking scenes in all of literature.&&L/P&&R&&LP style="MARGIN: 0in 0in 0pt"&&R &&L/P&&R&&LP style="MARGIN: 0in 0in 0pt"&&RA stunning masterpiece, &&LI&&RJude the Obscure&&L/I&&R is Hardys bleakest and most personal novel.&&L/P&&R&&LP&&R&&LB&&am p;RAmy M. King&&L/B&&R is an Assistant Professor of Literature at the California Institute of Technology, and the author of &&LI&&RBloom: The Botanical Vernacular in the English Novel&&L/I&&R, forthcoming from Oxford University Press. She is also the author of articles on eighteenth- and nineteenth-century British literature and culture, and has taught widely in the English novel at Haverford College and Caltech. King received her doctorate in 1998 from Harvard University in English and American Literature and Language. &&L/P&&R&&L/DIV&&R&&L/DIV&&R. N° de réf. du vendeur DADAX1593080352

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