Abstract
Hardy’s novels sometimes had a long gestation period, and the embryo of Jude the Obscure (1895) is often traced to a note Hardy jotted down in April 1888: ‘A short story of a young man — “who could not go to Oxford” — His struggles and ultimate failure. Suicide.’1 But before working out this idea fully in a novel-length study, Hardy rehearsed it in a short story, ‘A Tragedy of Two Ambitions’ (1888). In this neglected short story Hardy portrays the struggles and frustrations of two brothers, Joshua and Cornelius, whose academic aspirations are thwarted by a combination of meagre financial resources, class prejudice, and family circumstances in the shape of a feckless and drunken father. While Hardy’s sympathies evidently went out to the two brothers in their ‘untutored reading of Greek and Latin’, he was alive to the possibility that even the noblest intellectual aspiration could be both corrupt and corrupting.2 Thus, the story strikes a balance between being an eloquent plea on behalf of deserving but deprived students who fail to make it to the University, and offering an unsentimental critique of the selfish pursuit of academic ambition.
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Notes
Anne B. Simpson, ‘Sue Bridehead Revisited’, Victorian Literature and Culture, 19 (1991), p. 55.
John Lucas is surely forgetting all these marginal women in the novel when he asserts that ‘we would need more in the way of women than the novel actually gives us’ before we can decide whether Sue is a ‘representative woman’ or simply a ‘pathological case’. See Lucas, The Literature of Change: Studies in the Nineteenth Century Provincial Novel (Sussex: Harvester Press, 1977; rev. ed. 1980), pp. 189–90.
Edmund Gosse, ‘Mr Hardy’s New Novel’, St janzes’s Gazette, 8 November 1895, p. 4.
Kate Millett, Sexual Politics (New York: Doubleday, 1970; London: Rupert Hart-Davis, 1971), pp. 130, 133.
Katharine Rogers, ‘Women in Thomas Hardy’, Centennial Review, p. 254.
Gail Cunningham, The New Woman and the Victorian Novel (New York: Harper & Row; London: Macmillan, 1978), p. 106.
Cedric Watts, ‘Hardy’s Sue Bridehead and the “New Woman” ’, Critical Survey, 5: 2 (1993), p. 155. Watts points out the irony that while female writers allowed their heroines to break down, it was the ‘male playwrights’ — Ibsen and Shaw — who showed revolts successfully carried out.
Boumelha, Hardy and Women, p. 148.
John Goode, Sue Bridehead and the New Womari, Mary Jacobus ed. Women Writing, p. 104.
Robert C. Slack, ‘The Text of Hardy’s Jude the Obscure’, Nineteenth-Century Fiction, 11: 4 (1957), p. 272.
Hardy, Jude the Obscure, The Wessex Novels, Vol. VIII (London: Osgood, McIlvaine & Co., 1896), p. 42.
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© 2000 Shanta Dutta
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Dutta, S. (2000). Jude the Obscure. In: Ambivalence in Hardy. Palgrave Macmillan, London. https://doi.org/10.1057/9780230378346_7
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DOI: https://doi.org/10.1057/9780230378346_7
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