1、唐 山 學(xué) 院畢 業(yè) 論 文論文題目： 裘德悲劇探析系 別： 外語系 班 級： 03英本1班 姓 名： 崔海燕 指 導(dǎo) 教 師： 李文良 2007年6月8 日 Analysis of the Tragedy of JudeStudent: Cui HaiyanSupervisor: Li Wenliang Foreign Languages DepartmentTangshan CollegeJune, 2007 唐山學(xué)院畢業(yè)論文 第IV頁畢業(yè)設(shè)計（論文）任務(wù)書1 外語 系 英語 專業(yè) 03英本1 班 姓名： 崔海燕 畢業(yè)設(shè)計（論文）時間： 2007 年 3 月 5 日 至 2007 年 6

2、月 15 日畢業(yè)設(shè)計（論文）題目： Analysis of the Tragedy of Jude 畢業(yè)設(shè)計（論文）任務(wù)一、論文各部分內(nèi)容及時間分配：（共5周）第一部分: Introduction （1周）第二部分: Judes Personal Limitations （1周）第三部分: The Environments and the Social Conventions （1周）第四部分: The Conflict Between the Ideal and the Reality （1周） 第五部分: Conclusion （1周）二、論文要求：The thesis should co

3、ntain at least 5000 words. The writing should be divided into 3 main parts: beginning, body and conclusion. The beginning is the introduction, the body is the development and discussion of the main points and the conclusion is the summary of the whole thesis. There must be clear points of view, logi

4、cal and convincing discussion and natural conclusion. The thesis must be finished according to the requirements and within the set time.畢業(yè)設(shè)計（論文）進(jìn)度計劃安排階段應(yīng)完成的主要工作計劃起止時間1確定論文方向15周到寒假前2廣泛地查閱資料，做好卡片寒假期間3確定文章題目，再查閱資料1-3周4構(gòu)思并撰寫提綱 4-5周5完成初稿 6-9周6修改初稿，并完成二稿、三稿10-13周7定稿、打印、裝訂14周8答辯15-16周主要參考文獻(xiàn)Adelman, Gary. J

5、ude the Obscure: A Paradise of Despair. New York: Twayne Publishers, 1992.Blunden, Edmund. Thomas Hardy. London: Macmillan, 1942.Bullen, J. B. The Expressive Eye, Fiction and Perception in the Work of Thomas Hardy. Oxford: Clarendon Press, 1986.Cecil, David. Hardy the Novelist. London: Constable, 19

6、46.Carpenter, Richard. Thomas Hardy. New York: St. Martins Press, 1964.Guerard, Albert J. Thomas Hardy: the Novels and Stories. Cambridge: Haverd University Press, 1949.Higonnet, Margaret. The Sense of Sex, Feminist Perspectives on Hardy. Urbanna and Chicago: University of Illineis Press, 1993.Lawer

7、nce, D. H. Study of Thomas Hardy And Other Essays. Cambridge University Press, 1995.Millgate, Michael. Thomas Hardy: A Biography. New York: Random House, 1982.Pinion, F. B. A Hardy Companion. London: Macmillan, 1968.指導(dǎo)教師（簽名）： 審批人（簽名）：畢業(yè)設(shè)計（論文）指導(dǎo)教師評閱書指導(dǎo)教師（簽名）： 年 月 日畢業(yè)設(shè)計（論文）評審教師評閱書評閱教師（簽名）： 年 月 日畢業(yè)設(shè)計（論

8、文）答辯委員會成績評定書答辯人姓名： 設(shè)計（論文）答辯日期： 年 月 日 設(shè)計（論文）題目： 答辯委員會的評語：畢業(yè)設(shè)計（論文）成績： 答辯委員會主任（簽名）： 唐山學(xué)院畢業(yè)論文 第VII頁摘 要作為跨越十九、二十世紀(jì)的偉大作家兼詩人，托馬斯·哈代以其名著還鄉(xiāng)、卡斯特橋市長、德伯家的苔絲、無名的裘德等為廣大讀者熟知。他的這些作品也受到了評論界的極大關(guān)注。哈代的最出色的作品都列入了“性格與環(huán)境小說”,閱讀這類小說給人以這樣的印象：人類似乎永遠(yuǎn)都受制于命運(yùn)，時空的重負(fù)壓在他們的肩上，而更重要的是人們的生活總被一種神秘的力量控制著。無名的裘德無疑是哈代創(chuàng)作的最高峰。小說通過男主人公范立&#

9、183;裘德的事業(yè)和婚姻生活，描述了下層青年裘德孤苦不幸的一生。裘德一生充滿痛苦，因?yàn)檫@個世界壓抑他的自然本性，他的美好愿望難以實(shí)現(xiàn)。它表現(xiàn)了人們理想生活與現(xiàn)實(shí)生活之間的巨大反差，從而揭示生活的悲劇性。本文旨在研討哈代對人類悲劇命運(yùn)真正原因的探尋。本文除介紹和結(jié)尾外，主要分三部分：第一部分：關(guān)于裘德悲劇的個人限制，人受自身弱點(diǎn)的束縛。第二部分：分析裘德悲劇的社會原因，人同無情和僵化的社會發(fā)生沖突。除此以外，裘德悲劇還在于理想與現(xiàn)實(shí)之間的矛盾沖突。這是第三部分的關(guān)注之處。基于上述分析本文得出結(jié)論：裘德悲劇的原因在于個人條件限制；環(huán)境和世俗的影響；理想與現(xiàn)實(shí)之間的矛盾。關(guān)鍵詞 : 托馬斯·

10、;哈代; 悲??；沖突；無名的裘德 AbstractThomas Hardy, the great writer and poet of the nineteenth and twentieth centuries, has been well known to the readers for his masterpiece The Return of the Native，The Mayor of Casterbridge，Tess of the DUrbervilles and Jude the Obscure. The critics have also focused their att

11、ention on these books of his.The most outstanding category of Hardys novels belongs to that of “the Novels of Character and Environment”. The reading of these novels gives us the impression that men never seems to be free: the weight of time and place presses heavily on him, and above everything, th

12、ere are mysterious forces that control his life. Jude the Obscure was no doubt one of the peaks in Hardys artistic creation. It depicts the lonely and miserable life of the lower class youth Jude through the intellectual and marital life of Jude Fawley, the hero in the novel. The life of Jude is fil

13、led with pains and sufferings because his natural instinct is suppressed by society and his aspiration stands no chance of fulfillment. It reveals the tragedy of human existence by presenting the great contrast between the ideal life and the actual. The paper treats of Hardys exploration of the real

14、 causes of human tragedy in this masterpiece Jude the Obscure. It consists of three major parts besides the introduction and conclusion. Part One is about the personal limitations of Judes tragic life: man is bowed by many fallible elements. Part Two analyzes the environments and the social conventi

15、ons of Judes tragic life: man is exposed to an uncaring universe and frigid society. Besides the above two reasons Judes tragic life also lies in the conflict between his ideal and the reality. That is the focus of Part Three. Based on the analysis above, this thesis concludes that the causes of Jud

16、es tragic life consist in his personal limitations; the environments and the social conventions; and the conflict between his ideal and the reality.Key words: Thomas Hardy; tragedy; conflict; Jude the Obscure Contents. Introduction1. Judes Personal Limitations.3A. His weakness of character3B. His lo

17、w social status.4. The Environments and the Social Conventions.6 A. The victim of the environments.6 B. The victim of the social conventions.7. The Conflict between the Ideal and the Reality.9A. Conflict between spirit and flesh.9B. Conflicting views between the hero and heroines on love and marriag

18、e.10. Conclusion.12. Notes.13. Bibliography .15. Acknowledgements.17唐山學(xué)院畢業(yè)論文. IntroductionThe Return of the Native, The Mayor of Casterbridge, Tess of the DUrbervilles, and Jude the Obscure are the four greatest novels of Thomas Hardy. They climax Hardys Wessex epic which almost spans the whole nine

19、teenth century, a period of great social changes. Jude the Obscure is Hardys swan song as a novelist. It contributes no less or even more significance to Hardys Wessex Chronology and it achieves a greater realism as the author completely turns away from an idealized Wessex to a harsher modern world.

20、 His humanistic view of both social and individual tragedies reaches a point of mature complexity. And his social criticism is more pungent than ever.No wonder this novel should have brought upon the author a most violent storm of “righteousness”. When he first printed it as a monthly serial in Harp

21、ers Magazine between December 1894 and November 1895, Hardy had to cut some of its most vital parts: Arabellas “plan” to catch Jude involved no pretended pregnancy; Sue shared no “sitting-room” with her undergraduate boy-friend, nor did she ever share a house with Jude, but lodged in one just opposi

22、te, so that they could “talk across the street”; Jude had no “midnight contiguity” with Arabella after meeting her in the pub; on Judes last visit to Sue there was no kissing; nor did she ever do her conjugal “duty” by Phillotson. No wonder Hardy told a friend: “Please dont read it in the magazine.

23、It will be restored to its original shape in the volume.”1In book form, Hardy published the full novel in defiance of the Victorian censorship. So once the book was published, it received fierce attack. The New York Bookman commented, “It is simply one of the most objectionable books that we ever re

24、ad in any language whatsoever”2. With a high moral tone, most Victorian reviewers accused the novel of being immoral: typical headlines for these views were “Jude the Obscene”, “Jude the Degenerate”, and “The Anti-Marriage League”. The novel was banned from public libraries; the Bishop of Wakefield,

25、 disgusted with the novel s “insolence and indecency”, threw it into the fire; a New York reviewer said she ran to the window for air after reading Jude; and Hardy received a box of ashes, presumably those of his novel, from one of his irate readers.However, twenty thousand copies were sold in three

26、 months. Swinburne had been quick to congratulate Hardy on “The tragedy equally beautiful and terrible in its pathos”, calling him what Aristotle called Euripides, “the most tragic of poets; and assuming that”3. The man who can do such work can hardly care about criticism or praise! But Hardy did ca

27、re. When a literary agent asked for a new serial, Hardy replied, “I am absolutely vague about a serial story. I will let you know if ever I have one to offer.”4 He never did have one. The “howls” at Jude had put him off novel writing for good.So far criticism of Jude had focused its attention on the

28、 main character Jude Fawley. He plays more decisive and important role in the plots, compositions and characterizations. Most important of all, his tragedies not only reflect Hardys position as a “pessimistic” writer. Hardys understanding of tragedy is closely associated with his physical and social

29、 background and his realistic observation of life.Jude the Obscure is a better attack on Victorian morality, institutionalized religion and social economic injustices, as well as a penetrating study of the subtle and intricate relationship between man and woman. Here what we detect are essentially d

30、efected hopes and frustrated aspirations throughout the intellectual and marital life of Jude Fawley. In his work, Hardy had printed as clearly and as truthfully as he could the hopes, the struggles, the disappointments of Jude, the unhappy hero.This thesis is an attempt at a more thorough analysis

31、on Jude the Obscure. It examines the causes of Judes tragic life from three aspects: (a) Judes personal limitations; (b) the environments and the social conventions; (c) the conflict between the ideal and the reality. This choice has been made for the convenient reason that it is generally considere

32、d Hardys grimmest novel of the nineteenth century. Whats more, it suits most for my purpose of demonstrating Thomas Hardys tragic vision. Judes Personal LimitationsA. His weakness of characterHardys protagonists, though the universe and society are not benevolent toward, they themselves are largely

33、responsible for their tragic destiny. They are beset by personal defects and cannot free themselves from human weakness. Their fallible qualities never fail to produce catastrophes in certain circumstances.The first introduction of Jude to us takes place in the village of Marygreen. He is a kind-hea

34、rted boy of eleven, who has been an orphan since the death of his parents, and now lives with a bad-tempered aunt. We learn of his kind-heartedness and latent spirituality when he suggests that the teacher, who is leaving for Christminster, store his piano in the aunts fuel-house until he is ready t

35、o send for it. He bears the teachers words, “Be a good boyand be kind to animals and birds”5, so he has a deep feeling for helpless creatures, “he was a boy who could not himself bear to hurt anything.”6 When Jude is hired to scare away the rooks who come to peck the grain in Farmer Trouthams field

36、“his heart grew sympathetic with the birds thwarted desires”7, and he lets them feed until surprised by his angry employer who beats him. Later we find Jude walking gingerly, virtually on tip toe, across the evening damp of a meadow, so as not to disturb the breeding of earthworms. Always Jude is to

37、o loving for the harsh world he inhabits.In fact his kindness goes so far that it becomes one weakness of him. He is always the “puppet” in the hands of others. At no time in the novel is Jude in control of his own destiny, or even of his own situation. In an ironic reversal, Jude is always in the p

38、ower of some women first Drusilla, then Arabella and Sue, together and separately. Jude has assumed what can be called a feminine personality. As a boy, Jude is under Drusillas complete control. In his marriage to Arabella, she makes the decisions and wields the power. When women desire Jude, he is

39、expected to perform; when they do not desire him, he is expected to be chaste; when he attempts to speak of his own desire, he is chidden for his “gross” nature. He simply cannot win. When he confronts Arabella with the knowledge of the horrible deception that leads to their marriage, she is unapolo

40、getic and refuses to rise to the level of his concern, thereby erasing the validity of his outage. Similarly, Jude tolerates Sues constantly shifting the day of their marriage and her endless sexual ambivalence, this in a society in which men were empowered as the sexual aggressors and which assumed

41、 that once a man had “possessed” a woman, he had complete control over her. When Arabella decides she wants Jude back, he finds himself drunk in her bed. Virtually the only decision he makes in the novel is to commit suicide, but he is not forceful enough to make the ice break. He refers to himself

42、as a victim, a term that culturally is synonymous with the feminine. In speaking of marriage, he insists that the institution is as destructive to a man as it is to a woman, referring to the man as “the other victim”. However, marriage in Victorian society was in fact far worse for the woman than fo

43、r the man, since legally the man possessed control not only of the womans body no concept of marital rape existed, since a mans choice of when and how to engage sexually with his wife was seen as his right but also of any marital goods or money that she brought to the marriage. However, Jude consist

44、ently identifies with the woman, the underpowered one. Jude is the picture of the passive Victorian “wife” humble, effacing, patient, loving. Jude never exercises the one power that his society allows him as a poor man that of power over poor women, power within the home. B. His low social status Th

45、e novel is well named because Jude is “obscure” both in that he is a mere workingman of no social position, and in that he does not understand himself or the forces at work in life.As a child of the working class, Jude dreams of attending college at Christminster. With the departure of the schoolmas

46、ter to Oxford, Christminster lays its grip upon his soul. He talks of it, questions men on the road about it, above all, dreams of it and its treasury of knowledge. “He was getting so romantically attached to Christminster that, like a young lover alluding to his mistress, he felt bashful at mention

47、ing its name again.”8 He believes that Christminster “The city of light” just suits him.With an ambition to become a student of university, he engages himself in reading whatever books available to him. At day he snatches every moment possible to read and at night he used to read almost to dawn. He

48、becomes so learnt that he is nicknamed as “Tutor of St. Slums”. His rich knowledge manifests itself in his recital of Latin in public house, which even the students from Christminster could not understand. Clearly, he is intellectually superior to those students.But just as his nickname suggests, he

49、 is from slums. And his fate is connected only with the hard laborers in the shabby slums. Because he is a workingman, he is kept far from the students as if they had been at the antipodes. Jude realizes finally “how far away from the object of that enthusiasm he really was. Only a wall divided him

50、from those happy young contemporaries of his with whom he shared a common mental life only a wall but what a wall!”9Although Judes academic effort is hopeless, Hardy indicates the system when Jude fails, receiving a brutal rejection from the master of Biblioll College: Sir I have read your letter wi

51、th interest; and, judging from your description of yourself as a working-man, I venture to think that you will have a better chance of success in life by remaining in your own sphere and sticking to your trade than by adopting any other course. That, therefore, is what I advice you to do. Yours fait

52、hfully, T.Tetuphenay.10His letter might well be translated into the elitist sentiment of Dr. Johnson: “Sir, we permit cows in a meadow but we drive them out of the garden.”11 Jude is rejected because of his low social position.Talent, ambition, and a sound basic preparation are no substitute for soc

53、ial position. Jude discovers, and eventually he gives the appropriately bitter answer to the principal when he says to the crowd standing in the rain waiting for the academic procession. “It was my poverty and not my will that consented to be beaten. It takes two or three generations to do what I tr

54、ied to do in one; and my impulses affections vices perhaps they should be called were too strong not to hamper a man without advantages; who should be as cold-blooded as a fish as a pig to have a really good chance of being one of his countries worthies. ”12. The Environments and the Social ConventionsA. The victim of the environmentsThe unhappy environments can affect ones life. In contrast to Far From