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• W84584918 abstract "Brevis esse laboro, obscuro fio. Horace, De arte poetica(2) Men have called me mad; but the question is not yet settled, whether madness is or is not the loftiest intelligence... Poe, Eleonora(3) Obscurity is often thought of in terms of darkness; that is, as the opposite of light and clarity. In such a binary relation light is generally privileged and associated with meaning and sense while the obscure is associated with non-sense and unintelligibility. When thought in terms of language and writing, these types of assumptions run the risk of implying the ability of language to achieve clarity and meaning in terms of the presentation of ideas. Obscure writing is then merely the intention or failure of the writer; one wants to be unintelligible or one is simply unclear because of poor writing. If one avoids addressing the topic of obscurity through such convenient oppositions, the challenge arises to more fully investigate the nature of language itself. In the process, darkness must no longer be mediated through the filter of light but rather by itself. The proposition would be formulated as: what is darkness's darkness? or what is obscure obscurity? In the meantime, light, if present, is not to be understood as present in opposition to darkness, but merely in relation to it - a reciprocal relation in which the privilege of one element over the other is lost in preference to a fuller understanding of each element in itself. Such an approach will also challenge the credibility of assuming that language and clarity can be necessarily equated. I will pursue these issues through writing by and about Stephane Mallarme, in whose writing obscurity is not only evoked but inscribed as well. In the process, I will pay attention to issues of language as presented in his writing, suggesting that language bears a direct relation to obscurity. This will bring to light that the success of Mallarme's writing is not merely his ability to evoke the obscure, but also his success in speaking about essentially obscure characteristics of language in the process. Obscurity and Mallarme: Boulay and Mauron In his short study of entitled L'Obscurite esthetique de Mallarme, Daniel Boulay defines three distinct types of obscurity: absolue de l'absurde, obscurite d'une musicalite purement qualitative ou obscurite relative d'un langage difficile mais ayant pourtant un sens.(4) He goes on to clarify these types of obscurity by describing the first as de l'inintelligible pur, est celle du non-sens (ibid.). He ultimately intends this to be associated with an obscurity based upon and Boulay admits that Mallarme n'a pas echappe a ces accusations (OEM, 11). Given the fact that chance is invoked in what is arguably Mallarme's greatest poem, Un coup de des jamais n'abolira le hasard, this comment is important. However, I hope to show that chance does not actually play a role in terms of method of composition for Mallarme; just the opposite. His carefully crafted writing, by transgressing traditional form, demands a of obscurity equally transgressive. Boulay adds to his second definition of obscurity by saying that this conception de l'obscurite constitue une esthetique, celle qui definit la nature de l'art comme un pur impressionnisme sensoriel (ibid.). This type relies upon the degree to which the artist is able to establish a relationship between creation and individual based upon feeling or sensation. Boulay says but du poete serait de faire vibrer agreablement le lecteur par la seule musicalite non-signifiante des sonorites ou des images (ibid.). He stresses that this asserts not merely an abstract character (taken to mean intentional) but a non-figurative character (unintentional) to art. Thus, art has an inherent obscurity based upon the unintelligible, non-signifying character of its elements (i.e. how readable are all movements, sounds? …" @default.
• W84584918 created "2016-06-24" @default.
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• W84584918 date "1994-11-01" @default.
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• W84584918 title "Mallarme and the Madness of Obscurity" @default.
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