Sunday Reading Task on Bonfire


◆BONFIRE◆ 


Webster’s Dictionary defines a bonfire as 


“a large fire built in the open air”, 


a word derived from the Middle English bone fire a fire of bones. More to our purpose, other sources define a bonfire as “a festive fire” or a “contribution fire” that is, a fire to which everyone in the neighborhood contributes a certain portion of material.


What is Bonfire Night, why do we celebrate it ? 


Bonfire Night is a name given to various annual celebrations characterised by bonfires and fireworks. The event celebrates different traditions on different dates, depending on the country. Some of the most popular instances include Guy Fawkes Night (5 November) in Great Britain, which is also celebrated in some Commonwealth countries, 

  • Northern Ireland's Eleventh Night (11 July),  

  • 5 November in Newfoundland and Labrador. 

  • In various parts of Ireland, Bonfire Nights are held on St John's Eve (23 June),

  • Bealtaine eve (30 April) 

  • Halloween (31 October)

  • In Scandinavia it is known as Walpurgis Night (30 April)  

  • In Denmark also sankthansaften (23 June) 


St John's Eve is also a very important celebration in Spain and Northern Portugal. Several other cultures also include night-time celebrations involving bonfires or fireworks. 



Remember, remember, the fifth of November, The Gunpowder treason and plot. I know of no reason why the Gunpowder treason should ever be forgotten!


That is the start of the English folk verse which has been distributed in various forms since the foiled attempt to blow up the houses of parliament in the 17th century.


A grand plan, widely known as the Gunpowder Plot saw more than a dozen men work together in an attempt to blow up the House of Lords and kill King James I in hopes of securing greater religious freedom.


History books have revealed that although the plan was spearheaded by devout Catholic Robert Catesby, Guy Fawkes was the first arrested and the name most commonly linked with the November celebration.


 

Why is Bonfire Night celebrated?


The tradition dates back to 1605 when members of the public lit massive bonfires to celebrate authorities preventing the treasonous plot from being successful.


Those loyal to King James celebrated the fact he had survived an attack that would most definitely have killed him if it had gone ahead.


The celebration was made official months later when an annual holiday was enforced titled the 'Observance of 5th November Act.'


Due to the religious motives behind the plot - the celebration initially had strong undertones of anti-Catholic gatherings.


However in the modern-day Bonfire Night has become an extravagant affair across the country with bonfires, fireworks and in some areas funfairs.


While this year Bonfire Night celebrations will be a little different due to the coronavirus pandemic, the history will always be the same. 


Different Myths of Bonfire 


In many cultures, people practice rituals related to fire. These rituals are often based on myths and legends about fire or fire gods. In ancient Rome, a sacred flame associated with the goddess Vesta represented national well-being. Women called the Vestal Virgins had the holy duty of keeping that flame alive.


◆ The Aztecs of ancient Mexico believed that the fire god Huehueteotl kept earth and heaven in place. At the end of each cycle of 52 years, they extinguished all fires, and Huehueteotl's priests lit a new flame for the people to use. In northern Europe, which has long, dark, cold winters, fire was especially honored. Pagan fire festivals such as lighting bonfires on May 1 have continued into modern times in European communities.


◆ Agni, the god of fire in Hindu mythology, represents the essential energy of life in the universe. He consumes things, but only so that other things can live. Fiery horses pull Agni's chariot, and he carries a flaming spear. Agni created the sun and the stars, and his powers are great. He can make worshipers immortal and purify the souls of the dead from sin. One ancient myth about Agni says that he consumed so many offerings from his worshipers that he was tired. To regain his strength, he had to burn an entire forest with all its inhabitants.


◆ Chinese mythology includes stories of Hui Lu, a magician and fire god who kept 100 firebirds in a gourd. By setting them loose, he could start a fire across the whole country. There was also a hierarchy of gods in charge of fire. At its head was Lo Hsüan, whose cloak, hair, and beard were red. Flames spurted from his horse's nostrils. He was not unconquerable, however. Once when he attacked a city with swords of fire, a princess appeared in the sky and quenched his flames with her cloak of mist and dew.


◆ Prometheus of Greek mythology, one of the most famous fire bringers, stole fire from the gods and gave it to humans. Similar figures appear in the tales of other cultures.


◆ Native Americans believe that long ago some evil being hid fire so that people could not benefit from it. A hero had to recover it and make it available to human beings. In many versions of the story Coyote steals fire for people, but sometimes a wolf, woodpecker, or other animal does so. According to the Navajo, Coyote tricked two monsters that guarded the flames on Fire Mountain. Then he lit a bundle of sticks tied to his tail and ran down the mountain to deliver the fire to his people.


◆ African traditions also say that animals gave fire to humans. The San of South Africa believe that Ostrich guarded fire under his wing until a praying mantis stole it. Mantis tricked Ostrich into spreading his wings and made off with the fire. The fire destroyed Mantis, but from the ashes came two new Mantises.


◆ Indians of the Amazon River basin in Brazil say that a jaguar rescued a boy and took him to its cave. There the boy watched the jaguar cooking food over a fire. The boy stole a hot coal from the fire and took it to his people, who then learned to cook.


◆ Legends in the Caroline Islands of the Pacific link fire to Olofat, a mythical trickster hero who was the son of the sky god and a mortal woman. As a youth, Olofat forced his way into heaven to see his father. Later Olofat gave fire to human beings by allowing a bird to fly down to earth with fire in its beak.


◆ In Europe and America, individuals accused of being witches were once burned at the stake. Many cultures have held the belief that fire destroys sorcery, or black magic. The Assyrians of ancient Mesopotamia called upon fire to undo the effects of evil witchcraft aimed at them. They used these words:


Boil, boil, burn, burn!... As this goat's skin is torn asunder and cast into the fire, and as the blaze devours it... may the curse, the spell, the pain, the torment, the sickness, the sin, the misdeed, the crime, the suffering, that oppress my body, be torn asunder like this goat's skin! May the blaze consume them today.


◆ A myth from Assam, in northern India, says that after losing a battle with Water, Fire hid in a bamboo stalk. The Grasshopper saw it and told Monkey, who figured out how to use Fire. But a man saw Monkey and decided that he should have Fire, so he stole it from Monkey Like many stories, this myth portrays ownership of fire as a human quality. Even partial control over such a powerful force of nature is one of the things that gives human society its identity.



◆Bonfire in India◆


In India bonfires are called 'Holika Dahan'. Holika Dahan is a very popular festival celebrated with the lighting of a huge bonfire on the eve of Holi. Also known as ‘Chhoti Holi’ or the ‘Small Holi’, this tradition is observed with fervour all across India and is symbolic of triumph of good over evil. The heat from the fire also depicts the passing of winter and the hot summer days coming ahead. 


There are a few key points in favor of the "bone fire" etymology. First, the creation posited by early lexicographers would be a somewhat unusual hybrid: exactly why a French word would be joined with an English one (the word fire is purely Anglo-Saxon) is hard to rationalize. Second, knowing that the word goes back to the 15th century, we might expect it to have evolved to boonfire, since boon (as in "boon companion") is the English form that developed from the French bon. Third, the spelling in the world's earliest attestation is in the form balefyre, and bane is a spelling of bone which long continued common in Scotland. 



The next day, the festival of colour, Holi, takes place but participants of the hawana (the fire ritual) come back to the now burned out bonfire to smear vibhuti (sacred ashes) on their foreheads as a symbolic gesture to keep away evil. 


*Stories behind Holika Dahan*


The lighting of the bonfire on the evening of Holika Dahan is symbolic of the triumph of good over evil. There are many stories associated with the ritual of Holika Dahan and different people have a different perception of the tradition. Let us have a look at some common theories behind Holika Dahan:


●Prahalad’s Victory Over Holika :


The most popular story behind Holika Dahan comes from Narad Purana. According to this, Prahalad son of King Hiranyakashyap was an ardent devotee of Lord Vishnu. The king wanted everybody in his kingdom should worship him. Unable to make his son worship him, Hiranyakashyap instructed his sister, Holika to sit in the burning fire with Prahlad in lap. Holika was blessed that no fire can burn her However, the fire burnt Holika while Prahald came out unscathed. Thus holika dahan is celebrated to mark the victory of good over evil. 


●Bonfire with Mantras for Destruction of Demons :


According to ancient Vedas and Puranas, Holikotsav is an ancient festival where the sacred fire of holi was burnt followed by chanting of specific mantras. The fire and the mantras were intended for the destruction of the demonic fire. Therefore, the holi bonfire is believed to burn all the bad omens and bring good luck.


●Holka the Parched Grain :


Till today, there is a tradition of offering wheat and oat in the holi bonfire. Some people believe that Holika Dahan was named after parched grains called ‘Hola’ or ‘Holka’ in Sanskrit. The grains were offered to fire as a good omen before the cutting of crops begin. This ritual is called Vaishwadev.


●Ogress Dhundhi :


According to a theory mentioned in Bhavishya Purana, the festival of Holi is related back to the Kingdom of Raghu. Back then there lived an ogress named Dhundhi who used to trouble children. She was finally chased away by the people of the Kingdom of the day of holi. This is why Holi is believed to be a day when children can play pranks on others. As the saying comes 


‘Bura naa Maano Holi Hai’


Now I want to tell you about other countries whose  celebration is the same like Indian bonfire. 


◆Bonfire Night Newfoundland, Canada:-


When English and Irish people, in search of a better life, crossed the Atlantic Ocean to Canada, they took their traditions with them. The English took Guy Fawkes Night, the Irish took Samhain and over time the traditions merged into Mischief Week. 


With a belief that certain types of naughty behaviour (soaping windows, taking pins from gate hinges or stealing old tires for bonfires) is permitted at this time, many of Newfoundland & Labrador's close-knit communities hold bonfires and celebrations. 


◆Guy Fawkes Night (Bonfire Night) - England:-


The bonfire tradition continues to this day, and usually there's an effigy of Guy Fawkes placed at the centre of it. One of the biggest celebrations is in the town of Lewes in Sussex where, in recent years, effigies of various current figures, including those from the UK banking world, have been burned.


◆Daizenji Tamataregu Shrine's "Oniyo" Fukuoka, Japan:-


Fukuoka, capital of Fukuoka Prefecture on Kyushu Island, is one of Japan's largest cities and hosts one of its oldest fire festivals. Daizenji Tamataregu Shrine's "Oniyo" (Fire Festival) is a ceremony to drive away evil spirits that has been practiced for 1,600 years. It's held in early January each year. A "devil fire" that has been guarded at the temple is transferred - at around 9 p.m. on the seventh day (January 7) - to six massive torches measuring one meter in diameter and 15 meters long.


The torches are transported around the grounds of the shrine by a group of men in loincloths. It sounds like a potential health-and-safety issue, but it's considered to be good luck if embers or ash from the torches fall on them.


◆Jeongwol Daeboreum Deulbul Festival - Jeju, S. Korea:-


In early February, the Jeongwol Daeboreum Deulbul Festival takes place on the island of Jeju off the coast of South Korea. It's a fairly new festival, younger than 20 years old, but its origins go back to the time when families kept cows.


To keep the grass grazeable, farmers set fire to the fields in the mountains to destroy old grass and kill harmful insects. Today, a hilltop is set alight to pray for health and a good harvest in the coming year. There's a torchlight march, straw-rope making competition and deumdol (rock) lifting. 


◆Sadeh festival Iran:-




The "Sadeh" celebration is the largest celebration of fire and one of the oldest rituals known in ancient Persia. It is a festivity to honor fire and to defeat the forces of darkness, frost and cold. Until the Arab invasion of Iran in the seventh century, most Iranians in the powerful Persian Empire were Zoroastrians, who celebrated the feast at the start of the 30th January. The festival is held as a gathering of a city’s dwellers where a big fire is set. The observers help each other gather firewood, making the festival a celebration for cooperation and empathy between people. 


Here are some glimpse of celebration Holi in corona pandemic:


Coronavirus demon 'Coronasur' in Mumbai:-


On the auspicious occasion of Holika Dahan, people in Mumbai have come up with new ideas of burning effigies of coronavirus and crime against women. 


(In pic: Men sprinkle colour powder around a Holika Dahan effigy of the Coronavirus demon - 'Coronasur' erected in Mumbai)





Holika Dahan is the most significant ritual which is conducted a day prior to Holi and this time people in Worli area have put up an effigy based on the theme of coronavirus with 'Coronasur' written on it. 

Thinking activity:When god is a traveller

 When God is a Traveller 

- Arundhati subramaniam


Hello readers,


Today I'm going to discuss a poem by Arundhati Subramaniam - "When God is a Traveller". This task is assigned by our professor Dr. Dilip Barad sir. So this Sunday we are going to talk about this poem. 


◆Arundhathi Subramaniam◆



Arundhathi Subramaniam is an award-winning Indian poet. Her recent book, "Love Without a Story", is forthcoming internationally from Bloodaxe Books in November 2020. Widely translated and anthologised, her previous volume, "When God is a Traveller", was the Season Choice of the Poetry Book Society, shortlisted for the TS Eliot Prize. She writes on culture and spirituality, and has worked as poetry editor, cultural curator and critic. Her prose work includes "The Book of Buddha", the bestselling biography of a contemporary mystic, Sadhguru: More Than a Life, and as editor, the Penguin anthology of sacred poetry, Eating God. Other awards include the inaugural 

  • Khushwant Singh Prize, 

  • The Raza Award for Poetry, 

  • The Zee Women’s Award for Literature, 

  • The Il Ceppo Award in Italy, 

  • The Mystic Kalinga award, 

  • The Charles Wallace, Visiting Arts and

  • Homi Bhabha Fellowships,


among others. The best part about her territory of metaphors is that there are hidden corners of the heart, spaces where you are allowed to be vulnerable. There lie yearnings at their most profound. 


About the book :-



Arundhathi Subramaniam’s poems explore ambivalences the desire for adventure and anchorage, expansion and containment, vulnerability and strength, freedom and belonging, withdrawal and engagement, language as exciting resource and as desperate refuge. These are poems of wonder and precarious elation, and all the roadblocks and rewards on the long dangerous route to recovering what it is to be alive and human. Winner of the inaugural Khushwant Singh Poetry Prize and shortlisted for the 2014 T.S. Eliot Prize, When God Is a Traveller is a remarkable book of poetry. This book actually contains 22 poems from the “Deeper in Transit” section of Where I Live, thus there is substantial overlap in poems between books. Still, there are 29 new poems in this book, and it is a beautiful hardcover with very attractive cover art, making it a nice little book of poetry to carry around. We will look at her poem "When God Is A Traveller" (HarperCollins India). 


About the poem :-


In the poem which gives the book its title, “When God is a Traveller,” Subramaniam muses about


“Kartikeya/Murga/Subramania, my namesake.”



Kartikeya/Murga/Subramania is known by all those names, as well as Skanda, and is the son of Śiva, in some legends of him alone, as Ganesa is born of Pārvatī alone, but also often considered the son of both Śiva and Pārvatī. Subramania is the god of war who is also known as Guhā (cave, secret) or Guruguhā (cave-teacher) as he renounces war in some legends and retreats to the mountains. (For stories of Subramania, see Kartikeya as well as the Skanda Purana and for comparison of various legends, Wendy Doniger O’Flaherty’s Siva: The Erotic Ascetic). Arundhathi Subramaniam writes in this poem: 


*When God Is a Traveller*



 Trust the god back from his travels, his voice wholegrain (and chamomile), 

his wisdom neem, his peacock, sweaty-plumed, drowsing in the shadows.


 Trust him who sits wordless on park benches listening to the cries of children fading into the dusk, 

his gaze emptied of vagrancy, his heart of ownership.


Trust him who has seen enough— revolutions, promises, the desperate light of shopping malls, hospital rooms, manifestos, theologies, the iron taste of blood, the great craters in the middle of love. 


Trust him who no longer begrudges his brother his prize, his parents their partisanship. 


Trust him whose race is run, whose journey remains, who stands fluid-stemmed knowing he is the tree that bears fruit, festive with sun.

 

Trust him who recognizes you— auspicious, abundant, battle-scarred, alive— and knows from where you come. 


Trust the god ready to circle the world all over again this time for no reason at all other than to see it through your eyes. 


There is one story about God Ganesha and God Kartikeya. Parvati molded Ganesha from the turmeric paste. There are many stories that revolve around the birth of Lord Ganesha, one of the most popular is that Parvati molded Ganesha from the turmeric paste she used to clear her body with. According to the story, once Parvati asked Nandi to guard the door when she went to bathe. But he being Lord Shiva’s faithful allowed him to enter. With this incident, she lost faith in everyone and hence she collected the turmeric paste that she used to clear her body and molded it into Ganesha. 



Once Lord Shiva and Goddess Parvati threw a challenge to both their sons  Ganesha and Kartikeya  to take three rounds of the universe and come back. The one who completes the challenge first will be awarded the ‘fruit of knowledge’. Kartikeya took his vahana peacock and flew away. While Ganesha took three pradakshina (circumambulations) around his parents and explained to them that for him the whole universe lies in their feet. His answer impressed Shiva and Parvati and hence the fruit was awarded to him. 


In 'When God is a Traveller', Subramaniam weaves metaphors, metaphors that are distinctively hers, into language that is simultaneously fluid and simple. Everydayness is woven as a metaphor rife with allusions to the deeper meanings of life. These are poems of wonder and precarious elation, about learning to embrace the seemingly disparate landscapes of hermitage and court, the seemingly diverse addresses of mystery and clarity, disruption and stillness - all the roadblocks and rewards on the long dangerous route to recovering what it is to be alive and human. 



These poems explore various ambivalences around human intimacy with its bottlenecks and surprises, life in a Third World megapolis, myth, the politics of culture and gender, and the persistent trope of the existential journey. 


Trust him who sits wordless on park benches listening to the cries of children fading into the dusk,


In this stanza Arundhathi Subramaniam said that trust on him who just sits wordless in the park. Benches are listening to the cry of babies fading into the dusk. 


Themes :-


Wandering, digging, falling, coming to terms with unsettlement and uncertainty, finiteness and fallibility, exploring intersections between the sacred and the sensual, searching for ways to step in and out of stories, cycles and frames - these are some of the recurrent themes.

Marriage in Jude the Obscure


Assignment 


Name : Latta J. Baraiya 

Roll no : 12

Paper : Literature of Victorians 

Semester : M.A sem 1

Topic : Marriage in Thomas Hardy's Jude the Obscure 

Submitted to : Smt. S.B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University


Introduction


"Marriage", as an important social institution, has always been considered one of the major themes around which a good number of Victorian novels such as Jude the Obscure revolve. It is believed by many critics that the presentation of "marriage" in this novel has been performed through various literary tones including irony, diatribe, sarcasm, satire or direct criticism. Indeed, the bulk of articles and books about Thomas Hardy and his treatment of "marriage" in Jude the Obscure indicates the critical reception that this novel has enjoyed in this regard. Thus, it can be reasonably surmised that Jude the Obscure not only "resists the dominant code" (the Victorian concept of marriage) but  also "mirrors" and "moulds" and consolidates it. In order to clarify what 

we mean by "consolidation of the dominant code," we can investigate a number of relevant questions about this novel and its writer. 


◆Jude The Obscure◆


In the view of Hardy, he also criticizes marriage, describing it as a binding contract that most young lovers are incapable of understanding. He doesn’t believe that the institution is inherently evil, but that it isn’t right for every situation and personality “sensitive” souls like Jude and Sue should be able to live as husband and wife without a binding legal contract. Though he argues for this flexibility and seems to propose the couple’s unmarried relationship as an ideal solution, Hardy then punishes his protagonists in his plot, ultimately driving Sue back to Phillotson and Jude back to Arabella.


The novel is not a simple diatribe against marriage, but instead illustrates a complex, contradictory situation. Sue and Jude want their love to be true and spontaneous, but also totally monogamous and everlasting. The epigraph to the novel is “the letter killeth,” which comes from a quote from Jesus in the Bible: 


“The letter killeth, but the spirit giveth light.” 


Hardy intended this quote to refer to marriage, where the contract of the institution kills joy and true love, but Hardy purposefully leaves off the optimism of “the spirit” Jude and Sue’s joy is fleeting even when they are only following “Nature’s law,” and in the end they find no good answer for how to properly love and live together. By the novel’s tragic end Hardy still leaves the question of marriage unanswered, emphasizing only his dissatisfaction with the institution as it stands. 


◆Marriage system◆


The first question is about Hardy himself: Does Hardy take sides with his own fictional characters (Jude and Sue) or does he support the conventional side? 


It is already known that Sue and Jude's ideas do not conform to the dominant definition of marriage in the Victorian era. However, at the end of the novel, we have Sue define herself as "a poor wicked woman who is trying to mend" and we observe Jude musing, "What does it matter what my opinions are, a wretched like me!" 


Thus, it can be argued that even though Jude the Obscure has  always been discussed as a text against the authority of the Victorian marriage, it can also be viewed by the dominant discourse to confirm its own righteousness. In other words, even if Hardy aims to criticize the conventional institution of marriage, the outcome of his novel is not necessarily limited to this single interpretation. As Binion says, 


"Even a work of creative genius may convey a message other than its author intended. To tease arguments out of fiction can be tricky".


That is, although Hardy, as it is generally believed, has meant to criticize the status quo of his time, his text may not merely convey criticism. 


Most of the women characters Thomas Hardy tried to present in his novels were willing to struggle for their human rights and emancipation especially in terms of marriage laws and sexual liberty. Theywere new women to the Victorian society in different aspects though they were paradoxical sometimesand torn between being themselves and being what the society imposed. On the one hand, they wereattractive, lively, intelligent, and intellectually emancipated but, on the other, they were vulnerable andeventually crushed by a society that looked at them as inferior to men. In other words, they wereagainst the institutionalised marriage and against treating woman as a property in general and againstsexual depression which women had to suffer at that time in particular. These traits were not expectedfrom a Victorian woman who was believed to be educated and brought up to be a mother and a wife nomore no less. In today's time we find example of Jude and Sue who are doing something against the rule of society, and they had been punished by religion and god. If we see after this all accidents she become religious and Jude become more ungodly. 


◆Belief of Marriage◆


The Victorian woman, whether married or single, was expected to be weak and helpless, a delicate ‘doll’ who was not allowed to make decisions. The wife’s duties were mainly the houseworkand making sure that her many children were taught moral values and that the home was a comfortable shelterfor her husband and family from the stresses of Victorian time. Hardy’s portrayals of women characters were different from the conventional image. Through such new different portrayals, Hardy tried to restore to woman ‘not only a flesh and blood reality, but also a human nature lovable in its all imperfections’. At the time, Victorian society had a very narrow view of the potential and individuality of women. A good example of Hardy’s emancipated women is Sue Bridehead in Jude the Obscure.


In Hardy and the Erotic, T. R. Wright assures that ‘Sue Bridehead is in many ways at the centre of Jude the Obscure because she is stronger, more complex, and more significant’. As a main feminine character in Jude the Obscure, Sue Bridehead represents in some aspects the New Woman of the Victorian period. Sue’s rebellious and enthusiastic spirit and intellect urge her to confront and, most of the time, attack the conventions of her time and try to gain her voice in a world that mainly gives ears and attention to the man’s voice. Though in the end she submits and restores to the church and the conventions whichshe has been against, Sue shows how harsh the journey of the New Woman can be. This essay will study Sue’s character and to what extent she represents the New Woman in the Victorian era shading alight on her attitude against the Victorian institutionalised marriage mainly. 


◆Women in Victorian era◆


The Victorian social life was marked by the ideology of separate spheres of activities for thesexes. The status that woman held in the Victorian era did not give her the same rights as man. In her British Women in the Nineteenth Century, Dorothy Thompson defines these two spheres. She points to the public world for men as the ‘world of politics, the market and the workplace was the location of the rough, competitive male activities’, whereas the private world for women as ‘the world of home andfamily encapsulated the Christian virtues and the morality of personal relationships’. In fact, this israther a more general image than other images of how women were treated in the Victorian age interms of educations, politics and marital issues.


In such social conditions, Sue Bridehead was introduced to the Victorian readers by Hardy whowas promoting the necessity of demolishing the doll-woman image in the fiction and replacing it withthe prospective of the New Woman. Sue at the beginning of the novel is a liberated young woman withemancipated intellect, active and lively. The reason why her revolt voice against conventions andcollapse was considered a characteristic dealing with the New Woman. Sue was different from the old-fashioned Victorian girls whose freedom was illusory as it is described by Jenni Calder:In fact, the freedom was largely illusory, for most young women exchanged the control of afather for the control of a husband. Restriction was an ill education for liberty, and most of them passed straight from childhood to the responsibilities of matronhood without the chance oftesting their strength as young women, except in the marriage market.  They aren't free to do anything they have to do only house works. They are only made for this...


◆Sue as New Women◆


Sue’s characterization is designed to present the New Woman and that she exists but she doesnot necessarily prevails or overcomes the harshness and obstacles she confronts in herenvironment. Sue, the intellectual open-minded woman, is trapped by the old ideologies ofrestraint, of religious guilt at the time of ideological transition. In spite of her attempt to moveon to a world of relatively independent and freer conduct where she can realize herself andenjoy her liberated intellect, Sue is eventually crushed by the conflict of both worlds and realms of ideologies. She is the victim of both her theoretical emancipation and conventionality. Wattsargues that Sue can be considered a tragic victim and ‘a person of great potential whose vitality and independence are eventually destroyed by the partly internalized and partly external forceof religion, a force aided and abetted by a society which is largely hostile to her kind of emancipation’. Sue’s romantic ambitions and ‘Shelleyan’ dream which are nourished by her emancipated intellect and vitality collapse utterly by the reality of natural and social lawsespecially those of sex and marriage. 


If in today's time any married girl wants to live with other man despite being husband society punish them both. Girls are not free to do anything that they want, as hardy portray Sue and Arabella. This is also satire on the system of marriage. 


◆Expectations of Society◆


As a part of soceiry, society have some expectations toward us and we have to complete that expectations. If we are trying to fail in this society can't live us with peace. If we talk about marriage it is one of the most important pillar of society. We know some people around us who's aims only to be married, nothing else ! But nowadays womens are toot all responsibility, some of them are are also adopted a child and grew up them.


The other expectation is if man and women wants to live together they must be married. Without marriage they can't live with each other. Hardy break this rule, that's why he has to face many critical comments also. So many copy of his work are burned, because he hurts the sentiments of society and it's rule. If a couple want a home on rent the owner asked them they are married or not ! If no then they can't give room them on rent. If we see the example of movie LUKA CHUPPI, we can find that Guddu and Rashmi wants to live together without marriage. They creat fake proof of marriage and then they get room on rent.


The highest form of marriage is definitely not just the sex-based but is a complex matter containing a number of factors which not only arise from the couple but also from the society. However, for a happy marriage, an indispensable factor is the true love from both the man and woman who are always in the pursuit of mutual and deeper understanding of each other. From this sense, for Jude and Arabella, whose marriage is based on the flesh, it is impossible to for them to construct a solid marriage and a happy family through their efforts. The combination of Jude and Arabella, at the same time, decides the failure of their marriage and the pain of their lives. 


◆Marriage System Today◆


In recent years scholars have carried out valuable research into relationships between the sexes in Victorian times. They have focused especially on the late nineteenth century a period often referred to as the 'fin de siecle'. It was an exciting phase of transition, once described as being 'electric with new ideas'. Inevitably, there was conflict between those people who strove to maintain traditional standards and those who were receptive to change, and in the maelstrom of ideas it is not surprising that the institution of marriage was a subject of discussion and re-evaluation.


The Marriage Act of 1753 had defined marriage as a contract. Under common law a married woman's condition came to be referred to as 'coverture' a term which meant that 'the very being or legal existence of the woman is suspended during the marriage, or at least is incorporated and consolidated into that of the husband under whose wing, protection and cover, she performs everything.' A wife's property and earnings automatically became her husband's and any legitimate children also belonged to the father. There were few prospects for unmarried women spinsters were often too poor to manage without employment, yet were limited in their career options. As women did not have access to as wide a range of jobs as men, marriage was the only viable career for most of them.


Educational provision for women began to improve from the mid-nineteenth century onwards but it was still the case that girls tended to be viewed as potential wives, so for many of them education meant primarily a grounding in womanly behaviour. The function of a wife was to devote herself to the needs of her husband and children, and the home was regarded as a sacred institution indeed the stability of the nation itself was thought to hinge upon family values. During the course of the nineteenth century, however, reformers called for considerable changes in the marriage laws and in such areas as property rights, custody regulations and divorce law. 


Conclusion


Consequently, Jude the Obscure does not solely contain the critical discourse of the conventional marriage, as modern criticism has always claimed. It, rather, presents the possibility of a consolidating 

narrative in which the institution of conventional marriage is reinforced. In other words, Hardy, though unconsciously, has created a novel in which the nonconformists are marginalized as "the others" and are finally suppressed by the dominant social discourse that has influenced the mentality of a Victorian writer. 


Therefore, it is believed that Thomas Hardy, as a member of the Victorian society presents the subject of marriage in Jude the Obscure in a two dimensional discourse. The first level, which is explicit, seems to be a critical approach to the Victorian marriage; the second one, however, the one that is more implicitly provided, is a consolidatory discourse that supports the traditional marriage.

"The Alchemist" Book Review

The Alchemist Book written by Paulo Coelho is very interesting book to read. Paulo Coelho is a Brazilian lyricist and novelist. The novel s...