Done because we are too menny.

Analysis of the extra

The text I'm going to analyze is an extra belonging to Jude the Obscure (1895) by Thomas Hardy.

In this text there's a third person omniscient narrator who's outside from the story. Indeed, the story is showing, so the reader is totally free to create his own opinion. In particular he's strenuously focus on the details of the room: he even tells that Jude's timing the eggs, so it's morning. And the description is made like the narrator was a zoom machine because he firstly creates a general view and than he's going deeper and deeper, that is from the room to the two characters. For instance to say that Jude moves his seeing, he uses the expression "he turned his eyes to the little bed spread on the boards", so he quotes the bed and characterizes it too. 

This narrative technique is used to create realism to this dramatic and horrible scene. Indeed it's about a murdering: little Jude, the elder of Jude's three children, killed the two younger and finally himself too. The news is given by a Sue's scream, so high that moved Jude. She falls in the floor and the episode is described by Jude's view. The reader enters in the room as Jude does, and he can assist at the same view: the three little children are picked up the clothes' hooks with a cord around their necks. And the narrator gives lots of attention on underling the little shape of the children and on the Jude's attitude, that is cold and pathetic at the same time. Indeed he has the cold strength to pick the little bodies up and put them on the little beds, but even his pathetic involving in suffering for the scene. This is reinforced by his action of picking also his wife up and to call immediately the doctor.

Then there's a time jump because at the beginning of the new period, Sue has already woken up and the doctor's arrived. And the reader finds a scene in which everyone is looking for saving the three children, even if there are no longer hopes. The doctor, so he/she who's used to seeing dead people, is the first person who estimates their death. Secondly, the parents and the mistress are still carrying on trying to save them. And in particular Jude, for the high strength of the suffering, goes out of mind and he losses his self-command. 

But, only after a bit of time, therefore after the sentimental involving in the accident, they try to recreate the murder and they're thinking about the causes and the killer. In parents' opinion, the eldest one killed the other two because went mad. Indeed, they think he went to Sue's room looking for her. But he didn't find her and became out of mind. So, in a bad-tempered moment, he cholericly killed the other two. And this is certainly confirmed by a piece of paper on the floor. It has written on: "Done because we are too menny". So the reader finds out that the child was jealous and the mistake in the sentence could have done for one of two reasons: the guy was very little (as the whole text underlines with the repetition of the word "little"), or he was so angry that he was unable to write correctly.

The next scene is Sue's desperation because she feels it's her fault. Indeed she had already talked with the young boy, but evidently she hasn't been enough convincing. And this scene is created with lots of realism, in particular in Sue's madness: a so "convulsive agony" that they had to pick her up with strength and she stayed sitting on the bed satring at the ceiling, and even the woman of the house, so the one who Sue has to follow, hasn't any power on the woman. 

And up to now there's a change of the prospective because the reader can see the actions from Sue's view. Indeed, he's in the room downstairs and can hear what she hears: the people's feet walking in the murdered room upstairs. Sue is obliged to stay in that room and to not move because otherwise there will be only negative effects because she's pregnant. 

Suddenly, Jude arrives and tells the woman there are no longer hopes, that is the three children are dead. For this reason, she feels important to say her man her suspect, that is it's her fault. But he absolutely not agree with her. Indeed, according to Jude was little Jude's nature the fault, and this point was shared by the doctor him/herself too. It was a new kind of guys who wish not to live and so have a "sort of unknown". The point is that they are unable to cope with the big suffering and terror present in life because they understand it when they're not old enough to resist. Therefore in this passage the reader is able to find out a Schopenauer philosophy's interference, even because Jude sustains that knowing this doesn't give any consolation to them.

Furthermore, Jude can't control himself any longer and feels desperate. This as a double effect: Jude doesn't think about taking care of Sue, and she doesn't feeling desperate for a bit because she's involving in help the man. 

In the last scene of the text takes place in the dead children's room, in particular it's focusing of the killer's description. The narrator tells the reader that in his face there's the representation of the family live. And this points perfectly underlines how much our bodies tells about us. In particular, because he was Arabella's son, he was the embodiment of Jude's situation: he collected in his inner all Jude's fears, efforts, problems, doubts,… to use only a word, he was Jude's existence. And in the story he's got the function of a prophecy. Indeed the narrator in this part gives a comment. He expresses the negativity of Jude's love story. This is the really cause for the deaths: little Jude suffered for the love of his parents, for their mistakes he was without any words ("quacked"), and for their wrong adventures he had died. So, it's emphasized this necessity for little Jude to die, by the narrator too. And Jude and Sue's mistake is to not recognize that they were the problem: not she and neither little Jude's nature, but the two parents considering together.