Jude the Obscure (Barnes & Noble Classics Series) by Thomas Hardy

way), I have been charged since 1895 with a large responsibility in this country for the present “shop-soiled” condition of the marriage theme (as a learned writer characterized it the other day). I do not know. My opinion at that time, if I remember rightly, was what it is now, that a marriage should be dissolvable as soon as it becomes a cruelty to either of the parties—being then essentially and morally no marriage—and it seemed a good foundation for the fable of a tragedy, told for its own sake as a presentation of particulars containing a good deal that was universal, and not without a hope that certain cathartic, Aristotelian qualities might be found therein.
    The difficulties down to twenty or thirty years back of acquiring knowledge in letters without pecuniary means were used in the same way; though I was informed that some readers thought these episodes an attack on venerable institutions, and that when Ruskin College was subsequently founded it should have been called the College of Jude the Obscure.
    Artistic effort always pays heavily for finding its tragedies in the forced adaptation of human instincts to rusty and irksome moulds that do not fit them. To do Bludyer and the conflagratory bishop justice, what they meant seems to have been only this: “We Britons hate ideas, and we are going to live up to that privilege of our native country. Your picture may not show the untrue, or the uncommon, or even be contrary to the canons of art; but it is not the view of life that we who thrive on conventions can permit to be painted.”
    But what did it matter. As for the matrimonial scenes, in spite of their “touching the spot,” and the screaming of a poor lady in Blackwood that there was an unholy anti-marriage league afoot, the famous contract—sacrament I mean—is doing fairly well still, and people marry and give in what may or may not be true marriage as lightheartedly as ever. The author has even been reproached by some earnest correspondents that he has left the question where he found it, and has not pointed the way to a much-needed reform.
     
    After the issue of Jude the Obscure as a serial story in Germany, an experienced reviewer of that country informed the writer that Sue Bridehead, the heroine, was the first delineation in fiction of the woman who was coming into notice in her thousands every year—the woman of the feminist movement—the slight, pale “bachelor” girl—the intellectualized, emancipated bundle of nerves that modern conditions were producing, mainly in cities as yet; who does not recognize the necessity for most of her sex to follow marriage as a profession, and boast themselves as superior people because they are licensed to be loved on the premises. The regret of this critic was that the portrait of the newcomer had been left to be drawn by a man, and was not done by one of her own sex, who would never have allowed her to break down at the end.
    Whether this assurance is borne out by dates I cannot say. Nor am I able, across the gap of years since the production of the novel, to exercise more criticism upon it of a general kind than extends to a few verbal corrections, whatever, good or bad, it may contain. And no doubt there can be more in a book than the author consciously puts there, which will help either to its profit or to its disadvantage as the case may be.
    T.H.
April 1912.

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. a

I. - I.
    THE SCHOOLMASTER WAS LEAVING the village, and everybody seemed sorry. The miller at Cresscombe 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.