Jude the Obscure (Oxford World's Classics)



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Jude the Obscure


PART SIXTH
 ‘And she humbled . . . hair’: from the Apocrypha, Esther : .
‘There are two
. . . darkness here’: Browning, from his poem ‘Too Late’,
which Sue also quotes from on p. 
. See also pp. , , .
 Remembrance Day: Encaenia, an annual celebration in Oxford to com-
memorate founders and benefactors, when honorary degrees are given.
 the church . . . helical columns: St Mary the Virgin, the University
Church. helical: spiral.
the circular theatre
: see note to p. 
 above.
 Lycaonians: in Acts  they witnessed a miracle performed by Paul.
 I doubt . . . any harm (,  also): what Jude doubts first in MS is ‘if
I am even a Christian’. See p. 
 above for another removal of a religious
reference.
 object glass: lens of microscope or telescope.
up to
Jerusalem: Phillotson is here the Christ 
figure; see Luke : –.
See note to p. 
 and by contrast note to p.  above.
 from Caiaphas to Pilate: Caiaphas, the Jewish high priest, who handed
Jesus over to Pilate, the Roman Governor who had him cruci
fied;
Matthew 
 and . Here both Sue and Jude are Christ figures. See
notes to pp. 
 and  above.
 Sarcophagus: stone-coffin.
Rubric
: probably a reference to the directions for divine service, written
in the text in red.
 Half paralyzed by the strange and consummate horror of the scene: intro-
duced in 
, not found in MS.  had ‘grotesque and hideous hor-
ror’. Already in an earlier ‘New Woman’ novel, A Super
fluous Woman by
E. F. Brooke (
), one of Jessamine Halliday’s children kills herself and
her brother.
Explanatory Notes



 the eastward position: a reference to the nineteenth-century controversy
over which way a priest celebrating Holy Communion should face.
all creation groaning
: Romans 
: .
two-in-oneness
: see notes to p. 
 and p.  above, and to p.  below.
 that the First Cause . . . humanity: the idea of an indifferent First Cause
of all creation is one of several possibilities that Hardy explores in this
novel. This concept resembles the ‘Will’ or ‘Immanent Will’ hypoth-
esized by the philosopher Arthur Schopenhauer (
–). Hardy also
writes several poems touching the idea that human consciousness is an
evolutionary mistake. In the Life he writes: ‘The emotions have no place
in a world of defect, and it is a cruel injustice that they should have
developed in it’ (p. 
).
 Yes, Sue . . . I seduced you . . . You were a distinct type––a refined
creature, intended by Nature to be left intact
(
,  also): this stress
on Sue’s sexlessness is not in MS, where she seems altogether more
natural. See p. 
 above.
 Sacerdotalism: the doctrine that only properly ordained priests can be the
instruments of divine graces, and hence of salvation.
 You are, upon the whole . . . :  here omits earlier reference to Sue as
‘cold’, (found in 
, ). This is part of the late attempt to make her
show more feeling, described in note to p. 
 above.
 Then let the veil . . . from this hour: when Jesus died ‘the veil of the
temple was rent in twain, Mark 
: . For other parallels with Christ see
pp. 
, , , , , . Contrast pp.  and .
 befriending him (,  also): MS and serial add ‘his Convictions
were nearly thrashed out of him’, and does not include ‘yet such . . . ’.
Thus, originally Phillotson does not keep his liberal views. He is
altogether a weaker, less cynical man, who, crushed into orthodoxy,
makes the best of things materially by taking Sue back. See also pp. 

and 
.
 Acherontic shades: Acheron was the river of Hades. Cf. Jude as ‘self-
spectre’ p. 
, and Sue pp.  and  as a ‘phantom’.
 “the world and its ways . . . worth”: from Browning’s ‘The Statue and the
Bust’. See also pp. 
, , , .
 “Charity seeketh not her own”:  Corinthians : .
 Phillotson was more evasive . . . profession (also , ): not in MS nor
in serial, like the similar passage on p. 
. The  version of Phil-
lotson is strikingly di
fferent from earlier ones. See note to p. .
 acting up to his position: in MS and serial Phillotson does not feel ‘the
necessity of acting up to his position’ (as Sue, 
 and ) but, since
he has lost his liberalism, ‘the strength of his new position’. Cf. pp. 

and 
 above.
Explanatory Notes



 Though so elusive, hers is such an honest nature: MS, , : ‘Hers is
such a straight and open nature.’
 “saved as by fire’: based on  Corinthians : .
 old Fuller in his Holy State: The Holy State and the Profane
State
(
) by Thomas Fuller (–).
“Though
I give . . . nothing”
 Corinthians : .
 shorn Samson: a repetition of this figure for Jude found on pp. , 
above.
 Capharnaum: a town referred to in the Gospels usually as a scene for
Christ’s ministry. The condemnation here may be based on a prophecy
about its destruction for wrong-doing in Matthew 
: .
 ‘the letter killeth’: ‘the letter killeth, but the spirit giveth life’; 
Corinthians 
: .
 The phantoms all about here . . . Walter Raleigh . . . Tractarian Shades: a
sardonic parody of Jude’s 
first vision of Christminster spectres (. i).
Some names (Addison, Gibbon, Ken, Arnold, and the Tractarians) are
repeated; others are added. Johnson: Samuel Johnson (
–); Dr.
Browne
: Sir Thomas Browne (
–), author of Religio Medici ();
The Poet of Liberty
: Percy Bysshe Shelley (
–); Dissector of
Melancholy
: Robert Burton (
–), author of The Anatomy of Mel-
ancholy
(
); Walter Raleigh: Sir Walter Raleigh (?–), poet,
soldier, and voyager; Wycli
ffe: John Wycliffe (fourteenth century),
religious reformer and biblical translatorHarvey: William Harvey
(
–), discoverer of the circulation of the blood; Hooker: Richard
Hooker (?
–), theological writer.
 a touch of deference. . . . : MS adds ‘Why doesn’t she see that any code
which makes cruelty a part of its system––the cruelty of forcing a
woman into union with a man she does not love, or a man with a
woman, equally with any other form of cruelty cannot possibly be
moral?’; and after ruin on me! (p. 
): ‘When men of a later age look
back upon the barbarism, cruelty, and superstition of the times in which
we have the unhappiness to live, it will appear more clearly to them than
it does to us that the irksomeness of life is less owing to its natural
conditions, though they are bad enough, than to those arti
ficial compul-
sions arranged for our well-being, which have no root in the nature of
things! . . .’ Neither passage appears in any edition. Other similarly
extreme statements on marriage (pp. 
,  above) are also missing
from all but MS version. Hardy later (
 November ) described ‘a
bad marriage’ as ‘one of the direst things on earth, and one of the
cruellest things’ (Collected Letters, ii. 
).
 ‘Let the day perish . . . bitter in soul’: Jude’s lamentations from Job  were
added in 
 and are not found in MS. They remain in later editions.
See note to p. 
.
Explanatory Notes



 She’s never found peace . . . now!: this is like Lockwood’s final inept
assumption about Catherine and Heathcli
ff sleeping peacefully at the
end of Wuthering Heights. See notes to pp. 
 and  above.
Explanatory Notes


Document Outline

  • 0192802615
  • Contents
  • Acknowledgements
  • General Editor’s Preface
  • Map of Hardy’s Wessex
  • Introduction
  • Note on the Text
  • Select Bibliography
  • A Chronology of Thomas Hardy
  • JUDE THE OBSCURE
  • Explanatory Notes

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