In her book Towards a Recognition of Androgyny, Carolyn Heilbrum defines androgyny as "a condition in which the characteristics of the sexes and human impulses expressed by men and women are not rigidly assigned (Heilbrum 10). In Jude the Obscure by Thomas Hardy , Sue is depicted in a gender-comparable way. In the novel's introduction, Dennis Taylor describes Sue as "distractable and unfocused in her sexuality" (Taylor xxvi). objects of sexual desire.Through the descriptions, Sue is sometimes described in a way that does not emphasize masculine or feminine qualities.In addition, Sue despises the restrictions placed on women during her era surpassing the norms of her gender, Paul Morel in D.H. Lawrence's Sons and Lovers he faces a similar battle to maintain his masculinity Mary Burgan writes that Paul Morel is one of the twentieth century's most "powerful advocates of sexual liberation," yet he is defenseless against a "woman's power" as "mother of the artist" (Burgan 178). Paul Morel and Sue Bridehead's lack of appropriate gender behaviors and characteristics results in their inability to have intimate, fulfilling relationships with members of the opposite sex. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay When Jude Fawley sees Sue Bridehead for the first time, he remembers only vague physical descriptions of her appearance. Instead of recounting her exceptional feminine qualities, Jude says that "she was not a large figure... That was all he had seen. There was nothing statuesque about her" (Hardy 90). Without previously knowing that this character is a woman named Sue, this initial representation of her could be male or female. In his book Hardy and the Erotic, T. R. Wright writes that Sue has a "curious unawareness of gender" and often combines with males "almost as if she were one of her own sex" (Wright 120). After all, Sue could "do things that only boys do, as a rule I saw her hit and head down the long slide on that pond over there, with her little curls blowing in the wind... All the boys but her" (Hardy 112 ). Sue is considered a tomboy due to her mannerisms. Even at twelve, she refuses to submit to female gender norms when her aunt sees her "entering the pond without shoes and stockings, and with her petticoats pulled up above her knees, before I could cry out in shame", she said: 'Go come on, aunt! This is no sight for modest eyes!'" (Hardy 110-111). The attempt to feminize and control Sue occurs shortly after she meets Jude's friend (and her future husband), Richard Phillotson. Phillotson encourages Sue to enroll at the Teachers' Training College in Melchester. They plan to marry within two years, when she has completed her studies, and then to teach together at a large coeducational school in the city. Sue becomes incredibly unhappy and lonely in Melchester upon visiting her, he immediately notices that “all her bouncy ways were gone; her curves of movement had become attenuated lines... She had overall the air of a woman cut and pruned by severe discipline" (Hardy 132). Sue tells Jude of the difficulty of living "with all the bitterness of a young man to whom moderation was a novelty" (Hardy 133). Even the dress code imposed at school was "a simplicity of nun costume which was rather imposed than desired" (Hardy 136). Unaccustomed to the restrictions imposed by being a woman, Sue escapes from Melchester Training College to Jude's house. She immediately takes off her wet clothes, which she describes as“sexless cloth and linen,” wearing Jude's dress (Hardy 145). During a conversation later that night, Sue tells Jude that she is "not afraid of men" and that she has "mingled with them almost as if she were a person of the same sex as them" (Hardy 147). Although it is not clearly stated, it may refer to the Oxford undergraduate who “went about together almost like two men” (Hardy 148). Sue's "curiosity to seek a new sensation" leads her toward experiments, such as unorthodox living arrangements with the college student (Hardy 173). With “her strange ways and curious unawareness of gender,” Sue lives with him for fifteen months before realizing that his camaraderie was not what she was looking for (Hardy 149). The college student wanted to be Sue's lover, but she wouldn't hear of it. Sue assures Jude of her virginity by claiming that "I remained as I began" (Hardy 149). Sue enjoys the company of men, but does not appear to be sexually involved or interested in any of them. This contradicts the human characteristics and impulses typically assigned to females. Even after getting married to Phillotson, Sue tells Jude that "although I like Mr. Phillotson as a friend, I don't like him, it's torture for me to live with him as a husband!" (Hardy 212). Phillotson notes "Sue's invincible dislike of myself as a husband, though she might like me as a friend, is too much to bear any longer... They [Jude and Sue] seem to be one person split in two!" (Hardy 229). Later, Sue's obvious disgust at her sexual relationship with her husband is seen when Phillotson is talking to his friend, Mr. Gillingham. She tells Gillingham that "on account of my accidental entry into her room, she [Sue] jumped out of the window: so strong was her fear of me!" (Hardy 230). On a separate occasion, Sue even attempts to sleep in a closet. Just as Sue was “something of an enigma” to Jude, Phillotson finds her “baffling and unpredictable” (Hardy 134 and 224). Phillotson cleverly points out that “her [Sue] feelings for him [Jude] are an enigma to me – and to him too, I think – perhaps to herself” (Hardy 229). All of Sue's relationships with men prove unsatisfactory. She really can't decide whether to reject or admit men into her life. This is seen in her self-description as a “cold-tempered, sexless creature” for living with Jude, but not wanting to marry him (Hardy 267). When Sue takes on the name Mrs. Fawley, she possesses a “dull, intimidated, and listless manner,” which contributes to the idea of ​​Sue's dislike of her marriage (Hardy 298). Both as cousins ​​and as two people who share many similarities, Jude and Sue complement each other. However, Sue continues to express her distaste for marriage when she tells Jude that "we should have lived in communion of mind, and no more" (Hardy 352). Thomas Hardy often uses the term "sexless" to describe Sue. This is interesting because although Sue lives with men and even has children with Jude, Hardy gives the reader no reason to believe that Sue wanted or enjoyed sex. Conveniently, there is no mention in the text of the conception or birth of his and Judah's three sons. In part five, Sue tells Jude "I know that women are taught by other women that they must never admit the whole truth to a man. But the highest form of affection is based on full sincerity on both sides" (Hardy 260 ). Therefore, if women do not tell the whole truth to men, but the highest affection can only exist with this truth intact, then these women must achieve the highest form of affection with other women. Sue's desire for friendship and camaraderie with men is continuous throughout the novel; however, he is unable to achievea successful sexual relationship with any of them. This is a continuation of the fact that Sue doesn't seem to want sex. Because of this contradiction with traditional female desires and impulses, it leaves the reader doubting Sue's sexual identity. Through frequent comparisons of Sue and Voltaire, Thomas Hardy creates a non-conforming woman whose sexuality and gender are unclear. In Sons and Lovers by DH Lawrence, Gertrude Morel entrusts all her dreams and aspirations to her sensitive and artistic son, Paolo. His mother's effect on him, combined with Paul's hatred towards his father, is so powerful that it could be classified as an Oedipal complex. Even after his mother's death, Paul is unable to love anyone else. Gertrude Morel has the ability to denigrate Paul's masculinity, which results in his inability to have intimate, fulfilling relationships with any other woman he becomes involved with. When Paul is born, Mrs. Morel initially feels guilty because he was an unwanted child. However, his emotions soon change. As Lawrence writes, "She had feared this child as a catastrophe, because of her feelings for her husband. And now she felt strangely towards the child" (Lawrence 34). In an attempt to make up for her initial feelings, she exclaims that she "would love him even more now that he were here; take him into her love" (Lawrence 35). However, the bond between Paul and his father was not as strong. "No one spoke to him [Walter Morel]. Family life receded, shrank. But he no longer cared about his alienation" (Lawrence 39). The hypersensitive Paul “hated his father” and often prayed for him [his father] to die (Lawrence 58). According to Graeme Russell's report on the role of fathers and its relationship to masculinity, paternal education and the extent to which fathers participate in raising children were found to be associated with "the development of masculinity in sons" (Russell 1174). In reference to Sons and Lovers, Cynthia Lewiecki-Wilson states that Paul embraces his “feminine traits” and rejects patriarchal values ​​(Lewiecki-Wilson 143). Paul's lack of masculinity is present in some of his sexually inappropriate conversations with his mother. Combined with hatred for his father, he clearly demonstrates an Oedipal complex. When Paul and his mother get ready to go see Mrs. Leivers, Paul says that Mrs. Morel's new blouse makes her look like a "bobby-dazzler" (Lawrence 117). He continues to make comments about his mother's appearance, claiming that she is a "good little woman to hang out with!" (Lorenzo 117). When Paul and his mother are going to Paul's interview with Mr. Jordan, the couple feels "the excitement of lovers having an adventure together" (Lawrence 89). The young man's comments about his mother's appearance betray clear sexual and feminine overtones. The second part of the novel focuses on Paul's attempt to free himself from his mother's grasp. However, it ends up being a competition between Mrs. Morel and Miriam Leivers over who can possess Paul's soul. When Paul talks to his “women,” Mrs. Morel and Miriam “almost dispute who should listen better and win his favor” (Lawrence 167). In many ways Miriam is very similar to Mrs. Morel. She is pure and possessive. Yet, Paul "hated her [Miriam] because, somehow, she spoiled his ease and naturalness. And he writhed with a feeling of humiliation" (Lawrence 171). Mrs. Morel resents the intimacy between Paul and Miriam, so she treats Miriam with contempt. He continues to tell his son that he disapproves of Miriam when she says that “the courting of boys and girls is disgusting” (Lawrence 154). The relationship between Paul and Miriam cannot work because Mrs. Morel stifles Paul's manhood and ability to establish a relationship, 1989.