JARRY SEEMS TO HAVE COMPLETELY ABANDONED THE LEARNED SYNTAXIC AND LEXICAL COMPLICATIONS WHICH CHARACTERIZED HIS FIRST TEXTS WHEN HE WORKED AS A LITERARY CRITIC IN LA REVUE BLANCHE. IN FACT, THE AUTHOR OF MESSALINE KEEPS EXERTING, BUT IN AN EXTREMELY UNDERLYING WAY, A KIND OF OBSCURITY. THAT OBSCURITY IS PARADOXICAL, IN THE SENSE THAT IT IS NOT APPARENT AND THAT IT ULTIMATELY RESULTS IN THE ABIDING DEVELOPMENT OF AN AESTHETIC OF THE ABRIDGED, AND IN AN APPARENT SETTING BACK OF HIS PRESENCE OF CRITIC, EVEN IN THE VERY ACT OF MAKING REPORTS. JARRY GIVES ALL THE IMPORTANCE TO THE COMMENTED TEXT, HUSHING UP THE WAY HE HAS TO QUOTE IT, INCESSANTLY. THUS, THIS WORK IS LED, ON THE ONE HAND, BY OUR CONCERN OF REVEALING THE WAY THE AESTHETIC OF THE ABRIDGED APPEARS - JARRY PROCEEDS BY CEASELESS SYNTHESES, WHICH, BY DINT OF BEING ASSERTED, BECOME EITHER OBSCURE OR ELUSIVE - IN THOSE LITTERARY CRITICISMS WHICH SEEM TO BE BREAD AND BUTTER WORK, BECAUSE THE AUTHOR OF LE SURMÂLE PRESENTS IN THEM REAL CONCRETIONS OF SENSE, IN CONNECTION WITH THE NOTION OF ERUDITION, IN EXTREMELY DIVERSE FIELDS. ON THE OTHER HAND, OUR WORK AIMS AT SHOWING HOW JARRY DIVERTS THE USUAL USE OF THE QUOTATION - THAT CARRIES A CORROSIVE CRITICISM OF THE STATUS OF CRITIC - THE AUTHOR OF LA CHANDELLE VERTE BECOMING A CRITIC WHO EXPRESSES HIMSELF MOSTLY ACCORDING TO THE TOTAL ABSENCE OF CRITICAL WORDS, BECAUSE WHEN IT IS A QUESTION OF EXPRESSING "JUDGMENTS", THIS IS IN FACT TO CONTINUE TO WEAVE A FILIATION WITH AN AUTHORS' COMMUNITY OF WHICH HE FEELS CLOSE TO, AND THUS, MAINLY, WITH THE PLACE OF LE MERCURE DE FRANCE.

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{{Explor lien
   |wiki=    Wicri/Psychologie
   |area=    BernheimV1
   |flux=    Main
   |étape=   Exploration
   |type=    RBID
   |clé=     Hal:tel-00743016
   |texte=   THE LITTERARY CRITICISM OF ALFRED JARRY IN LA REVUE BLANCHE.
}}