Saturday, August 26, 2017

A Marxist's approach to Jude the Obscure

How to Read Literature by Terry Eagleton is a rewarding book.

On Hardy's Jude the Obscure:

....We may now look at a particular literary character in rather more detail. Sue Bridehead of Thomas Hardy's Jude the Obscure ranks among the most stunningly original portraits of a woman in Victorian fiction. Yet the novel lays a trap for the unwary reader. It is as though it deliberately tempts him to write Sue off as perverse, flirtatious and exasperatingly fickle, and many a reader has obediently fallen for the bait. As one sternly judgemental critic of Sue writes,

there isn't, when one comes down to it, much to be said in her defence. Having speeded on the death of her first lover, Sue captivates Jude to enjoy the thrill of being loved, and then enters with dubious motives and curiously mechanical detachment into marriage with Phillotson, treating Jude with astounding callousness in the process. Having refused to sleep with Phillotson she abandons him for Jude, temporarily wrecking the schoolmaster's career, and refuses to sleep with Jude too. She then agrees to marry him out of jealousy of Arabella, changes her mind, and finally returns again to Phillotson, leaving Jude to die … The problem is how we come to feel that Sue is more than just a perverse hussy, full of petty stratagems and provocative pouts; for that this is at one level an accurate description of her seems undeniable.

It may have seemed undeniable to me when I wrote these words some forty years ago in the Preface to the New Wessex edition of the novel, but they strike me today as woefully off the mark. Sue is not full of provocative pouts. She pouts once in the novel, unprovocatively. Neither is she a schemer, as the phrase ‘full of petty stratagems’ would suggest. It is not at all clear that she ‘speeded on’ the death of her first lover. He claims that she broke his heart, but the charge is pretty preposterous. Not many people die of this particular ailment, not least when they are gravely ill in any case, as Sue's first lover seems to have been. Nor does she treat Jude with ‘astounding callousness’. It is not her fault that Phillotson is hounded out of his job. The passage is a tissue of untruths. If Sue were alive today, she could sue for defamation of character. She could, however, screw a lot more damages out of D.H. Lawrence, who brands her in his Study of Thomas Hardy as ‘almost male’, ‘an ‘old-woman type of witch’ who adheres to the ‘male principle’ and is ‘scarcely a woman at all’. Rather oddly, Lawrence also accuses her of being ‘physically impotent’. So Sue is really a man, but a man who is not a real man. It is hard to get more sexually confused than that.

It is true (to do my younger self a spot of justice) that I proposed this version of Sue as only one possible reading. It is also true that she can be jealous, capricious and exasperatingly inconsistent. These, however, are hardly hanging offences. Much of Sue's behaviour makes sense once one sees that it is driven by a deep fear of sexuality. This is not because she is a Victorian prude, but for exactly the opposite reason. She is an enlightened young woman with boldly progressive views about marriage and sexuality. She is also something of a sceptic when it comes to religious belief. The irony is that she is wary of sexuality precisely because of her emancipated views. She regards marriage and sexuality as snares which rob women of their independence, and the novel itself fully supports her in this opinion. ‘ “Is it,” [Jude] said, “that the women are to blame; or is it the artificial system of things, under which the normal sex-impulses are turned into devilish domestic gins and springes [that is, traps] to noose and hold back those who want to progress?” ‘ (Whether anyone ever spoke like this in real life is another question.) If she tries to disavow her love for Jude, with calamitous consequences for them both, it is not because she is heartless but because she recognises that love in these social conditions is inseparable from oppressive power. Sexuality is about subjugation. As Hardy writes in Far from the Madding Crowd, ‘it is difficult for a woman to define her feelings in language which is chiefly made by men to express theirs’.

If Sue finds it hard to commit herself to Jude, it is not because she is a flirt but because she values her freedom. She grew up, so we are told, as something of a tomboy; and this epicene or sexless quality, which puts her beyond the pale of conventional sexual behaviour, makes it hard for her to understand men's sexual feelings for her. She can thus hurt them without intending to. She would prefer simply to be their friends. The novel sees with extraordinary insight that the sexual institutions of late Victorian society have destroyed the possibility of comradeship between men and women. Some of Sue's apparent perversity springs from the fact that her advanced sexual views are inevitably somewhat theoretical. Women's emancipation is still at an early stage. So her beliefs can easily succumb to social pressures. She is thrown out of college for unbecoming conduct, and then, alarmed by the public outcry this occasions, tries to set matters right with respectable opinion by marrying the mildly repulsive Phillotson. The result is predictably disastrous.

Throughout the book, Sue has a dismally low estimate of herself. She is a far more admirable woman than she imagines, and the novel allows us to see the discrepancy between what she is really like and her own self-loathing. When an adopted child of Jude and Sue hangs their other children and then kills himself, an event which the novel does not even try to make realistically convincing, Sue's poor opinion of herself is pressed to a pathological extreme. ‘I should like to prick myself all over with pins,’ she cries, ‘and bleed out the badness that's in me!’ Convulsed by guilt and self-disgust, she abandons Jude and returns to Phillotson, leaving Jude to die wretched and alone. I note this fact in my Preface, but fail to mention that Sue leaves her partner for the most understandable of reasons. It is hardly surprising that a woman who has just lost her children in this grotesque manner, and who is in any case the target of vicious public censure, should take the death of her children as divine punishment for her bohemian way of life, and finally submit to moral orthodoxy. It is understandable not least because Sue's sexual emancipation is still embryonic and uncertain. It is a work in progress rather than an achieved position. How could it be otherwise when she is forced to go it alone, with no support from society at large and a good deal of prejudice and hostility to face down?

The tragedy of the novel is that Sue and Jude try to live out a form of comradeship, but are thwarted in the end by the power of patriarchy. Even a love as deep and steadfast as theirs is bent out of true by the system. ‘Sexuality is blood-stained,’ as one commentator on the book remarks. This superbly courageous novel is about the impossibility of sexuality, not just its pitfalls and illusions. Yet it refuses to accept that the couple's failure was somehow fated. It has nothing to do with Nature, Providence or a malevolent God. It is just that the experiment was premature. History was not yet ready for it. The same is true of Jude's ill-starred attempt to enter Oxford University as a working man. This project, too, was not doomed but before its time, as he himself comes to acknowledge. Not long after his death, a college for working people was established in Oxford, and still exists today. In any case, the novel suggests with cold-eyed realism that for its hero to try to break into the benighted set-up known as Oxford University was not worth the effort. Repairing the walls of the very colleges which shut him out, which is one of Jude's jobs, is more useful in Hardy's eyes than most of the learning that goes on within them....

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