54 pages • 1 hour read
Thomas HardyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: These sections reference, though not extensively or in great detail, the murder of a child, suicide by a child, suicide attempts and contemplation of suicide, miscarriage, and instances of sexual coercion.
Richard Phillotson, the schoolmaster of Marygreen, prepares to depart for university in Christminster. As locals assist him in packing his belongings, a dilemma arises regarding Phillotson’s piano. Eleven-year-old Jude Fawley, one of his students, offers to store it in his great aunt’s fuel house until Phillotson can arrange for its transport. Moved by Jude’s kindness and studious nature, Phillotson gives Jude a book as a parting gesture.
Phillotson invites Jude to visit should the boy ever find himself in Christminster. As Jude goes to fetch water from the well, he reflects on Phillotson’s departure, only to be met with a stern scolding from his great aunt for lingering too long. Struggling to carry the heavy buckets through Marygreen, Jude observes the changes in the town’s structures over time, noting the scarcity of original buildings amidst the rebuilt ones.
Jude trudges home with the buckets and overhears his Great Aunt Drusilla gossiping about him. Drusilla has cared for Jude since his father’s death a year earlier, but believes Phillotson should have taken him to Christminster since Jude loves books so much. Jude’s cousin, Sue, shares the same inclination towards learning. Drusilla reflects on the family’s ill-fated marriages and tells Jude that he should never marry. Seeking respite from the domestic chatter, Jude heads to work in Mr. Troutham’s corn field. Although he has been tasked with scaring rooks away from the crops, Jude allows them to feed. His act of compassion is met with Mr. Troutham’s wrath, resulting in a brutal beating and subsequent dismissal from his job. When he returns to his aunt’s bakery, he asks her about Christminster, but she tells him that people like them have nothing to do with that place. While he is initially despondent, he helps his aunt, then asks a man in the village about Christminster. According to him, the best place to gain a view of the city is Mr. Troutham’s field—the same place where he had “disgraced himself” that morning.
Jude ascends to Marygreen’s highest point, an overgrown Roman road, where he catches sight of the weathered barn known as the “Brown House.” Jude approaches the workmen on the roof to ask about the location of Christminster. Though the overcast sky obscures the view, the workers kindly gesture in the right direction. Undeterred, Jude wanders until sunset, eventually returning to the Brown House. Taking advantage of the ladder left by the workers, Jude ascends to gain a better vantage point. As the mist gradually dissipates, Christminster emerges in the distance, a beacon of aspiration against the encroaching darkness.
From that moment on, Jude clandestinely visits the Brown House whenever time allows, using it as a vantage to gaze upon Christminster and indulge in fanciful daydreams. During one such excursion, Jude encounters two coal transporters. Though they are not from Christminster—and have, indeed, never visited it—their descriptions of the city as a bastion of learning and music further elevate its allure in Jude’s mind. Their words ignite a fervent desire within Jude to experience Christminster’s wonders firsthand.
On his journey home, Jude encounters Physician Vilbert, a wandering charlatan who peddles false remedies. Vilbert shares stories of Christminster, and Jude expresses his aspiration to study Greek and Latin. Jude strikes a deal with Vilbert: He will advertise Vilbert’s products in exchange for his old grammar books. Jude diligently fulfills his part, but Vilbert forgets the books and appears to have forgotten Jude altogether.
Disillusioned by Vilbert’s disregard, Jude hides a request for books in Phillotson’s piano shipment and receives two grammar books in return. Jude excitedly begins his studies but soon succumbs to the overwhelming difficulty of teaching himself. Crushed by self-doubt, Jude descends into despair and questions the purpose of his existence.
In subsequent years, Jude delivers bread from his great aunt’s bakery in a horse-drawn cart. He studies his Latin on the way, not always paying attention to the actions of his horse. One day, while passing the Brown House, a now-16-year-old Jude halts at the captivating sunset and recites a pagan hymn. He then resolves to prioritize Bible study and acquires a Greek New Testament to read on his delivery route. Jude apprentices himself to a stonemason in nearby Alfredston to learn a trade and earn money for the university at Christminster. Jude spends his weekdays in Alfredston and weekends in Marygreen for three years.
On his weekend walk from Alfredston to Marygreen, 19-year-old Jude brims with optimism about his move to Christminster. He reviews his achievements in learning and envisions a future where his savings secure him a college acceptance. He even dares to dream that he might rise among the ranks of Church leadership.
Suddenly, a pig’s penis hits Jude’s ear, interrupting his ecclesiastical reverie. The bit of flesh had been thrown by Arabella Donn, the pig farmer’s daughter, to get Jude’s attention. She and her friends tease him as they wash chitterlings in the nearby stream. Momentarily swayed from his scholarly pursuits, Jude arranges to meet Arabella again. Despite his intellectual reservations, thoughts of her charms dominate Jude’s mind.
The next day, Jude finds himself torn between his Greek studies and Arabella’s invitation. Convincing himself it would be impolite to decline, Jude sets off to Arabella’s. As they walk together, Jude and Arabella see a fire in the distance and investigate it, until the fading daylight leads them to take shelter at a tavern. Arabella impresses Jude with her brewing knowledge while they share a beer underneath a portrait of the biblical Samson and Delilah. On their walk back, Jude impulsively—and repeatedly—kisses Arabella.
Jude is surprised that Arabella’s family regards him as a proper suitor. Returning home, he begins to question the worthiness of his scholarly pursuits. The following day, Arabella confides to her friends her desire to marry Jude. Although it is not explicitly articulated, her friends advise her that the easiest way to get a man to marry you is to become pregnant.
As Jude and Arabella’s romance deepens, their encounters become more intimate. One weekend, they find themselves alone on a hilltop while chasing a stray pig. Arabella coaxes Jude to lie beside her, but his innocence blinds him to her advances. Undeterred, Arabella concocts a plan to ensnare Jude further. With her parents’ help, Arabella orchestrates a scenario where they are alone in her house, and, with calculated seduction, she entices him upstairs, leading to sexual intimacy.
Two months later, and increasingly dissatisfied with the slow progress of her relationship with Jude, Arabella meets Vilbert. The topic of their conversation is not revealed, but she comes away from the encounter “brighter” than before. That evening, Jude mentions leaving for Christminster, but Arabella reveals she is pregnant. Despite the fact that it will derail all his plans, Jude proposes marriage.
Jude’s disillusionment grows, compounded by townsfolk gossip, as the wedding approaches. The ceremony is mundane, and the gift from Jude’s great aunt—a cake and a morbid note—foreshadows marital discord. The couple settles into life in a modest cottage, where revelations about Arabella’s superficial deceptions and past professions emerge. Jude feels increasingly trapped, especially when Arabella reveals that she is not pregnant after all.
On the day appointed for slaughtering their pig, the butcher fails to show up. Jude reluctantly undertakes the task himself. Arabella is adamant that a slow death produces better quality meat, an attitude at odds with Jude’s desire not to prolong the creature’s suffering. He kills the pig quickly, much to Arabella’s frustration.
On the way to Alfredston, Jude overhears Arabella’s friends discussing her lie about the pregnancy. He confronts Arabella about her deception, but she, unfazed, defends her actions, claiming that faking the pregnancy was her prerogative. Her response deepens Jude’s disillusionment.
The tension between Jude and Arabella reaches a breaking point one Sunday morning. Arabella carelessly tosses aside Jude’s books. She storms out, accusing him of repeating his family’s history of marital strife. Jude confronts his aunt, who confirms the grim truth that his parents’ failed marriage culminated in his mother’s suicide. Devastated, Jude contemplates taking his own life by crashing through a frozen pond, but the ice holds firm. Seeking solace, he gets drunk at a tavern. On his returning home, he finds that Arabella has left, leaving a farewell note. A letter arrives days later with the news that Arabella is severing her ties with him and leaving for Australia. Jude resigns himself to fate and relinquishes to Arabella all his money and household goods.
He encounters a poignant reminder of lost love in a secondhand shop: the photograph he gave Arabella. This discovery solidifies his resolve. Walking alone, he revisits the Brown House, where he once dreamed of Christminster. Viewing a forgotten inscription, Jude finds renewed purpose: upon his apprenticeship’s end, he recommits to pursuing his education..
The opening section of Jude the Obscure abounds with omens and foreshadowing that cast a shadow over the destiny of young Jude Fawley. Drusilla’s recurring lamentation that Jude should have perished with his parents, Jude’s fixation on Christminster, and even his name are signs of the external forces that will come to define his life in spite of his elevated aspirations. The omniscient third-person narrator, a staple of the Victorian Realist novel, reveals the incommensurability between Jude’s situation and his desires, even though Jude himself, as a young man, is not aware of them.
From the outset, Jude’s story dramatizes the theme of The Individual’s Struggle Against Social Constraints. Even as a child, he has a self-conscious aversion to “Nature’s logic,” finding that “mercy towards one set of creatures was cruelty towards another sickened his sense of harmony” (17)—yet, this logic, belonging to both nature and society, is the defining principle of Jude’s life, constraining his intellectual and romantic life.
His first name evokes St. Jude, the patron saint of lost causes, while his last name, “Fawley,” contains the echoes of “folly”—that is, how most people around him will view his efforts. The literal water buckets he struggles to carry in the first two chapters quickly transform into social burdens. Jude is unusual in his rural, working-class community because of his interest in books and education. His early failure to keep the rooks out of Mr. Troutham’s field establishes Jude as a boy whose sensitivities are too finely wrought for rural life. Moreover, His intellect does not free him from the necessity of labor; if anything, it increases the load of his responsibilities, as he apprentices himself to a stonemason in addition to his work for his aunt—all while teaching himself the Latin and Greek grammars that boys of higher social classes devote years of their lives to learning.
His commitment to study also does him no favors in social life. The other inhabitants of Marygreen see him as a curiosity and take advantage of his naivete. Most notably, Arabella Donn—whose sensuality is so pronounced that she enters Jude’s life by throwing a pig’s penis in his face—exploits Jude’s practical ignorance of sexuality and his sense of honor to trap him into a marriage that quickly sours. Jude is not unaware that his actions towards Arabella are socially constrained. Although Arabella “was not worth a great deal as a specimen of woman kind,” Jude nevertheless bows to “the custom of the rural districts among honorable young men who had drifted so far into intimacy with a woman as he unfortunately had done” (50) and agrees to get married. Jude’s internal monologue reveals the extent to which he himself is invested in the society that constrains him; for all his dreaming about Christminster, he is unable to imagine an alternative to marriage, let alone speculate that Arabella might be acting in bad faith. Indeed, part of the tragedy of Jude’s lifelong struggle against social constraints is the fact that he is, at best, a reluctant iconoclast. Rather, he is just trying to do his best as an “honorable” man and discovering that it is that very quality that works against him.
Jude’s obsession with the distant, idealized Christminster—a lightly-fictionalized version of Oxford—emerges as the defining feature of his young life, anticipating the theme of the Institutional Hypocrisy of Education and Religion. Since its founding in the 12th century, Oxford had been a center of both education and religion; the purpose of studying there was to become an ordained member of the Church. Religious tests requiring assent to the doctrines of the Church of England were not fully abolished until the early 1870s. Reforms from the 1850s onward moved the curriculum in a more secular, scientific direction; resolutions were also undertaken to strengthen the university’s intellectual rigor and make it more accessible to young men of the middle classes (“Economics at Oxford.” The History of Economic Thought Website. Accessed 2 April 2024.).
In Hardy’s novel, Christminster becomes the center of Jude’s aspirations and prayers, as well as the symbol of everything he could possibly want in life. It is, the young Jude says to himself, “a city of light […] The tree of knowledge grows there. […] It is a place that teachers of men spring from and go to. It is what you may call a castle, manned by scholarship and religion. […] It would suit me just fine” (23). He does not think that gaining acceptance there will be easy, but he never considers that it would be impossible. Nevertheless, these ideas are not entirely the products of Jude’s imagination. He pieces together knowledge from the enthusiasm of Phillotson as he departs Marygreen and from the talk of strangers like the coal transporters he meets on the road. These are not people with a great deal, if any, of firsthand knowledge of Christminster; their ability to speak of it at all suggests its importance in a broader cultural imagination—even one possessed by those who would never enter its halls. Jude’s error is not so much that he mythologizes Christminster, but that he makes the mistake of thinking that his own efforts will be enough to make himself part of that mythology.
The Complexity of Relationships emerges as a stronger theme in later sections, as Jude grows closer to his cousin, Sue Bridehead. Nevertheless, even the first section of the novel already raises questions about the institution of marriage. Not only has it, in Aunt Drusilla’s accounting, caused nothing but ruin and emotional devastation in the Fawley family, it also appears to be ill-suited to the contingencies of rural life. Arabella’s friends treat the practice of becoming pregnant out of wedlock in order to force a man to propose marriage as a common, even necessary occurrence. There is little room for complexity of feelings, or for the reevaluation of them, in a context where marriage or the destruction of reputation are the only options.
By Thomas Hardy
British Literature
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Victorian Literature
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