Archetype Of The Blind Receiver

Their senses of humor follow a similar pattern, in that the narrator relies on his bitterness and Robert relies on his wit. The narrator makes jokes at Robert’s expense, saying that “‘Maybe [he] could take [Robert] bowling’” (Carver 212). His humor develops Robert’s blindness as the punchline, lacking sensitivity towards Robert’s disability. Another of the narrator’s jokes pokes fun at religion, for example, when they sit down to eat and begin to pray, only for the narrator to finish with, “‘Pray the phone won’t ring and the food doesn’t get cold” (Carver 217). Robert, in comparison, harmlessly jokes about the Irish actor, Barry Fitzgerald: “When I drink water … I drink water. When I drink whiskey, I drink whiskey” (Carver 216). He pulls in
Traditionally, the popular archetype of the Blind Seer involves one who is physically blind yet possesses deeper knowledge. Robert’s deeper knowledge is his ability to connect emotionally and spiritually. His wisdom is strengthened by the stroking, touching, and lifting of his beard throughout his stay with the narrator. For example, on several occasions, he “[lifts] his beard slowly and [lets] it drop,” “[puts] his hand under his beard” before asking the narrator something, or “[puts] his fingers into his beard and [tugs], like he [is] thinking about something” (Carver 216, 218, 222). Stroking one’s beard is usually considered an act of thought, and because Robert does so quite often, he possesses great thinking power. Moreover, Robert’s soft urging develops his priest-like personality and creates the confession-like atmosphere where the narrator begins to feel comfortable enough to open up about his personal beliefs, such as his lack of religiosity. Robert phrases his requests as questions: “‘Can I ask you something? … But let me ask if you are in any way religious? You don’t mind my asking?’” and “‘Will you do me a favor? … Why don’t you find us some heavy paper?’” (Carver 225-226). He also repeats the phrase “Hey, listen” several times in an attempt to calmly attract the narrator’s focus (Carver 225-226). Due to Robert’s
Much like when Robert asks to touch the narrator’s wife’s face, touch is part of his and the narrator’s physical connection, for Robert “[closes] his hand over [the narrator’s] hand,” and they begin to draw the cathedral (Carver 226-227). Eventually, Robert asks the narrator to close his eyes, and surprisingly, the narrator has no objections (Carver 228). In this display of their newly formed friendship, the beauty of the cathedral is greater than its physical appearance. “‘It’s really something,’” the narrator admits, despite his eyes remaining closed (Carver 228). In fact, his emotion overpowers the traditionally physical aspects of his being, such as sight, because it is the narrator’s personal decision not to open his eyes. Gothic cathedrals, created as extravagant manifestations of God’s kingdom on Earth, symbolize the intensity of Robert’s inner spirituality and the insight that exists as a result of his lack of sight. The cathedral that Robert and the narrator draw is the culmination of human understanding, therefore representing the preeminent concept of