Types of Obscurity in Thomas Hardy's Jude the Obscure and ...

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Types of Obscurity in Thomas Hardy's Jude the Obscure and Maurice Blanchot's …What matters here is the priority given to the text while the role of theproducer of the writer seems to be negligible or marginal at best. IndeedBlanchot states elsewhere that creative writing is a sort of selfannihilationand that the writer, just like Orpheus in his continuousentanglement between gaining and losing, attains the aesthetic experiencewhileannihilating his individuality.The reason for all this is that there is no correspondence between what isinside literature and what is there in the objective reality,' the shift from aworld where everything more or less has meaning ,where there isdarkness and light, to a realm where ,literally speaking, nothing yet hasmeaning ,towards which ,nevertheless, everything that has meaningreaches back, as towards its origin'(Ray 2).There is much to be said hereas the titles of his two influential prose texts, The Gaze of Orpheus andThe Sirens'Song not only evoke classical echoes ,but also they refer tothe creative process and the costs it inevitably entails. If Orpheus hingeson the impossibility of achieving a kind of synthesis between creativityand matrimonial life, the story of Ulysses and his challenges of thedangers of the Sirens illuminate these painstaking tasks. Unable to resistthe infatuating but destructive songs of these Sirens, Ulysses made hissailors lash him to the mast while they, ears stuffed with wax, piloted theboat to safety. Thus he could cheat the Sirens, hearing their song withoutincurring destruction. Gabriel Josipovici has the following to say aboutthe connotations of this primordial scene,Ulysses was cunning and resourceful, but did he in fact triumphover the Sirens? Did he from the safety of his ship, really hearthe true song? Or is that reserved for those who go to the Sirensopenly? One could also say, from another perspective, thatUlysses was not in fact saved, since after hearing them he wascondemned to repeat their song for ever in the words of theOdyssey?(Blanchot,1982, 8)This idea of the indeterminacy and endlessness of the meaning whichkeeps taking different forms and manifestations will be the favorite fieldfor critics like Derrida and his renowned concept of 'differance', the130
Damascus University Journal, Vol.28 No.1, 2012Sabbar S. Sultanendless postponing of the literary meaning and concealment as a result ofthe writer's failure to command his own medium or the slippery side ofthe language itself. Also Barthes's famous article 'Death of the Author'(1967) and Foucault's 'What is an Author' (1970)have their own startingpoint in Blanchot's cogent arguments stated in The Space of Literatureand many other books. As De Man puts it, Blanchot' wants us to take thework for what it is and thus to rid it of the presence of the author'(de Man64).Thanks to Blanchot's critical discussions, the idea of 'the death ofliterature' takes its final and conclusive shape. The manifestations of thisepistemological and intellectual malaise are many. Among these is therealization that the reader gradually replaces the author in determining thefinal meaning of the literary text and the critic competes and defeats thewriter in the literary process (Kernan 2). Blanchot anticipated the callsfor the vigorous role of the reader when he mentioned that 'It is said thatevery writer writes in the presence of a certain reader' (Blanchot,1995,359).The only defense or justification for such a lengthy introduction isthe fact that Blanchot is a puzzling figure in the creative and critical scenenot only for people from different languages and cultures but also for hisown European community. Leaving his critique aside, we find that hisfiction never veers from this pivot. Indeed his fiction, represented by hisThomas the Obscure belongs to the self-referential type inaugurated bySterne's Tristram Shandy (1760-7) and Joyce's A Portrait of the Artist asa Young Man( 1914). It seeks to investigate its own tools and reminds thereader of the fictionality of its text. Moreover there is a successfulwedding between the creative and the critical, or if you wish, the creativeis made to serve the critical and exemplify it, concretize it, as it were. Hisfictional texts pursue one invariable line: the keen interest to show how'the formal features of a text, matters of style, can be indices to largeintellectual and cultural matters'(Strier 211).The linguistic levels of hisfiction can not be isolated from his thematic ones. In one of the anecdotesof Thomas, the common notion of reading virtually inverts: it is the textthat reads the reader,Under the pressure of a liminality that binds reader to what hereads ,Thomas's reading mutates until it begins to manifest the131
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