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Neither man, however, was an adept of these systems, by which term I mean, neither pursued these systems to their obviously implied conclusions, instead contenting themselves with the (what is now) non-controversial conclusion of psychological relevance. Jung was obviously at a loss to understand alchemical terms coherently, contenting himself with interpreting alchemy in Freudian and his own terms. Campbell maintained that God no longer speaks to mankind because He never DID speak to mankind...
Thomas Taylor, on the other hand, "the Great English Pagan", was thoroughly versed in the Platonic and Neoplatonic traditions, and although he lacked the benefits of 20th century scholarship, not only approached the essentially same conclusions as Campbell and Jung, but FURTHER concluded that there DID exist at one time, a religion of INVOCATION.
There are numerous examples from both reliable, trustworthy witnesses (Plato, Plutarch, Iamblichus, Proclus), and old sources -the Bible included (e.g., the Witch of Endor summoning the spirit of Samuel for King Saul), which argue for this conclusion. Modern Rosicrucians and Golden Dawn adepts concur, arguing for a dramatic reappraisal of what we understand by the term "RELIGION".
Taylor concurs with Campbell that the Christian religion has inadvertently charted strange and unknown seas by its insistence on the historicity of its symbolism. Unlike Campbell, he is virulently anti-Christian, not only in the Nietzschean sense that Christianity has undermined true Spirituality by its insistence on the fallen nature of the physical world, but also because he considers it a selfishly-motivated and bizarre perversion of the Old Religions.
This translation is to be highly commended as it is Taylor's. Secondly, as usual, Taylor provides voluminous footnotes which are very helpful in acquiring a basic understanding of the Mysteries of Eleusis, with its central sacrament of wheat, analogous to the Eucharist of the Catholic mass and symbolic of the spiritually dead rising from the tomb of the body..
A very good and engaging Taylor volume, but like all his works, it tends to raise more questions than it answers. If you enjoy this, you will also want to read Taylor's "Iamblichus on the Mysteries".
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As for the actual plays, they are classic Renaissance drama. There is plotting, marriage, and revenge. Fans or students of Jonson, Massinger, Marston, and Shakespeare are likely to be interested in these as well.
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There is however need for more guidance on implementing the model.
Jude then decides to follow his old dreams and travels to Christminster, only to find it was little like what he had imagined. There he falls in love with his cousin Sue, who in order to spite Jude, marries the schoolmaster Phillotson. She despises their marriage, and soon asks her new husband to let her leave. After much contemplation, he consents, and Sue runs off with Jude. The two start a life together with Jude worshiping Sue and Sue constantly pushing Jude away. They will not commit to marriage, and live a life together looked down upon by all of society. After a while, they get a surprise from Arabella, saying she has a son that belongs to Jude, and that he will be coming to live with them. Father Time, as he was nicknamed, comes to live with them. He is a very depressed young soul, burdened by things way beyond his years. Sue and Jude have two more children out of wedlock, and constantly move from town to town to get away from the jeers of society.
Just as things are starting to look up, as Sue seems to finally love Jude, Father Time decides to take things into his own hands and hangs himself as well as the other two children. Sue, being unable to cope with the situation, leaves Jude and goes back to Phillotson, saying it is her duty. Jude, left alone, is then visited by the vivacious Arabella, who gets him drunk so he will consent to re-marry her. Their marriage, however, is simply one huge lie, and Jude, from depression and a loss of hope, becomes sick and finally dies in his misery.
The main topics looked at by Hardy seem to be about goals and marriage. Hardy clearly defines Jude's many goals, for instance his pursuit of knowledge and his pursuit to win the love of Sue, but just as St. Jude, the saint of hopeless causes, Jude is never able to achieve them. The idea seems to conclude that no matter what your goals are, you will never be able to attain them. This is a depressing thought, and though it may be true for some people, I believe it does not clearly express the true things that happen in people's lives. Most people, if they have a goal in sight, do achieve their goals, bringing themselves happiness.
Marriage is clearly looked down upon in this book. Hardy shows marriage between both Sue and Phillotson as well as Jude and Arabella as a trap of unhappiness. He then contrasts that unhappiness with the life of "true" happiness that Jude and Sue had together, out of wedlock. This idea, in my opinion, is absolutely false. Marriage is meant to be the union of two people who love each other so much that they are willing to commit their entire lives to each other. It is meant as a means for happiness and love to blossom. Hardy's demented idea of marriage is clearly false.
Even though some of the philosophies in this book tend to be skewed, I thoroughly enjoyed the book. It made me think on an entirely different level. I could sympathize Jude's pain, and though it may not be a leisurely novel, it is a classic that I recommend any educated person should study.
It's quite interesting how Hardy devises his plot. It's quite a dark novel, filled with every character's problems. Through this book we see that what society thinks is the right thing to do isn't always best for everyone. The climax of the book is a horrifying murder-suicide of Jude's children. This is no doubt a book that makes you think about the psychological aspect of life. It's a good read if you like the fact that none of the problems actually get resolved and trying to solve problems only makes new ones.
I picked up this book out of boredom, believing I'd put it down after a few pages. I enjoyed Tess from High School, but Jude for leisure? I was wrong: Hardy's poetic melancholy and rythmic cadence drew me in yet again. I was mesmerized by Jude, Arabella, and Sue. Though their conversations seem forced and some of their characterics unnatural, I felt sympathy for their deterioration and sadness. And in my feeling this, Hardy has accomplished a great poetic influence.
I really believe that Hardy could have written a greater Jude the Obscure if he was unhindered by the public. Though his true passion lay in poetry, he had much potential in prose. Too bad this was his last novel...
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