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- W20342575 abstract "The significance of Jude's adventures depends, as recent critics have pointed out, on realization that Hardy's decision to make his last novel contrasts1 was not a supreme indulgence in architectonics, but a con? scious creation of a receding and expanding ground on which more could be said and shown than Victorian strictures would allow. Experience had taught Hardy that after carefully dividing his characters into pairs of op posites, he could allow them to shift positions, change roles, and reveal traits and affinities that link them in juxtaposition. Both the strengths and weaknesses of apparently antithetical types turn out to be closely related, and their virtues and vices appear to have a common source or even to promote a similar end. Ambiguous situations serve equally well. A recent article by Lewis B. Home on the entrapment theme in Jude the Obscure examines thematic shifts, the way in which all that is cell in the novel can be either heaven or hell, a sanctuary or a trap, and appears, like Sue to Jude, to constantly go back upon itself, double round the corner!2 Within a novel whose title page recalled the deadly powers of the letter to a society notorious for asserting its righteousness through cen? sorship, one should not be surprised to find the author's battle lines drawn ultimately in verbal irony.3 Such lines were in fact drawn through a pun? ning play on gins and spirits in the novel, a word game more cutting and more sustained than any Hardy had offered in earlier fiction. It is well worth following, for it not only sharpens perception of Hardy's loss of faith in reforming the world by the time he wrote his ultimate Poor Man' ' novel (cf., EL, p. 81), but it brings out the extent to which he slanted" @default.
- W20342575 created "2016-06-24" @default.
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- W20342575 date "2016-01-01" @default.
- W20342575 modified "2023-09-27" @default.
- W20342575 title "GINS AND SPIRITS: THE LETTER'S EDGE IN HARDY'S JUDE THE OBSCURE" @default.
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