Agean wrote,
“The sunlight clarifies - the twilight obscures and mystifies.”
Does not N predict the future?
Does not the twilight replicate 18th century art, impressionist?
The cave was dark in the Middle Ages, when first exposed to the Enlightenement, man was overwhelmed by light, reality became elusive.
Icarus fell cause he was too close.
Impressions became the mode of apprehension, to overcome the vagaries of denying one of the principles of an aesthetic: appreciable distance, objectivity.
The twilight afforded objectivity, the reconstruction of it, the quasi union of the real and the ideal.
What’s wrong with that. N spoke in aphorisms, that light be converse, refocused on it’s object.
Some did not appreciate such vision, they needed return, return to the original.
Now, the central point in trying to understand is the signification of the simulated return.
I will proceed with incorporation of below comments- obscureatism as in nude, the obscure.
Here is a thematic summary:
"The novel tells the story of Jude Fawley, who lives in a village in southern England (part of Hardy’s fictional county of Wessex), who yearns to be a scholar at “Christminster”, a city modelled on Oxford. As a youth, Jude teaches himself Classical Greek and Latin in his spare time, while working first in his great-aunt’s bakery, with the hope of entering university. But before he can try to do this the naïve Jude is seduced by Arabella Donn, a rather coarse, morally lax and superficial local girl who traps him into marriage by pretending to be pregnant. The marriage is a failure, and Arabella leaves Jude and later emigrates to Australia, where she enters into a bigamous marriage. By this time, Jude has abandoned his classical studies.
After Arabella leaves him, Jude moves to Christminster and supports himself as a mason while studying alone, hoping to be able to enter the university later. There, he meets and falls in love with his free-spirited cousin, Sue Bridehead. But, shortly after this, Jude introduces Sue to his former schoolteacher, Mr. Phillotson, whom she eventually is persuaded to marry, despite the fact that he is some twenty years her senior. However, she soon regrets this, because in addition to being in love with Jude, she is horrified by the notion of sex with her husband. Sue soon asks Phillotson for permission to leave him for Jude, which he grants, once he realizes how unwilling she is to fulfill what he believes are her marital duties to him. Because of this scandal — the fact Phillotson willingly allows his wife to leave for another man — Phillotson has to give up his career as a schoolmaster.
Sue and Jude spend some time living together without any sexual relationship. This is because of Sue’s dislike both of sex and the institution of marriage. Soon after, Arabella reappears having fled her Australian husband, who managed a hotel in Sydney, and this complicates matters. Arabella and Jude divorce and she legally marries her bigamous husband, and Sue also is divorced. However, following this, Arabella reveals that she had a child of Jude’s, eight months after they separated, and subsequently sends this child to his father. He is named Jude and nicknamed “Little Father Time” because of his intense seriousness and lack of humour.
Jude eventually convinces Sue to sleep with him and, over the years, they have two children together and expect a third. But Jude and Sue are socially ostracised for living together unmarried, especially after the children are born. Jude’s employers dismiss him because of the illicit relationship, and the family is forced into a nomadic lifestyle, moving from town to town across Wessex seeking employment and housing before eventually returning to Christminster. Their socially troubled boy, “Little Father Time”, comes to believe that he and his half-siblings are the source of the family’s woes. The morning after their arrival in Christminster, he murders Sue’s two children and kills himself by hanging. He leaves behind a note that simply reads, “Done because we are too menny.”[1][2] Shortly thereafter, Sue has a miscarriage.
Photochrom of the High Street, Oxford, 1890–1900
Beside herself with grief and blaming herself for “Little Father Time”'s actions, Sue turns to the church that she has rebelled against and comes to believe that the children’s deaths were divine retribution for her relationship with Jude. Although horrified at the thought of resuming her marriage with Phillotson, she becomes convinced that, for religious reasons, she should never have left him. Arabella discovers Sue’s feelings and informs Phillotson, who soon proposes they remarry. This results in Sue leaving Jude once again for Phillotson, and she punishes herself by allowing herself sex with her husband. Jude is devastated and remarries Arabella after she plies him with alcohol to once again trick him into marriage.
After one final, desperate visit to Sue in freezing weather, Jude becomes seriously ill and dies within the year in Christminster, thwarted in his ambition to achieve fame in his studies as well as in his love. It is revealed that Sue has grown “staid and worn” with Phillotson. Arabella fails to mourn Jude’s passing, instead setting the stage to ensnare her next suitor.
The events of Jude the Obscure occur over a 19-year period, but no dates are specifically given in the novel.[note 1] Aged 11 at the beginning of the novel, by the time of his death Jude seems much older than his thirty years – for he has experienced so much disappointment and grief in his total life experience. It would seem that his burdens exceeded his sheer ability to survive, much less to triumph."
This only to organize and synthesize my ongoing search into signification and an attempt to sensory integration.
As far as the intentionality of deliberate positioning or reified objects is concern, that question revolves around N’s success to objectify his narratives to achieve a coherent structural transcendence that he be understood , in terms that metamorphose the descriptive into idiomatic understanding.
I think he basically fails in this, and this is why Heidegger’s continuum gets full of exploitative gaps.