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賲孬丕賱亘 丕賱賵賱丕丿丞
賱賷爻 賲賳 亘乇賴丕賳賺 毓賱賶 賲丕 亘賱睾鬲賴 丕賱亘卮乇賷丞 賲賳 鬲賯賴賯乇貙 兀賮囟賱 賲賳 丕爻鬲丨丕賱丞 兀賳 賳毓孬乇 毓賱賶 卮毓亘 賵丕丨丿貙 兀賵 賯亘賷賱丞 賵丕丨丿丞貙 賲丕夭丕賱鬲 丕賱賵賱丕丿丞 賯丕丿乇丞 毓賱賶 兀賳 鬲孬賷乇 賮賷賴丕丕賱丨賽丿丕丿 賵丕賱賲賳丕丨丕鬲
263 pages, Paperback
Published November 25, 2011
1,642 people are currently reading
51.2k people want to read
About the author
Emil M. Cioran
153听books4,159听followersBorn in 1911 in R膬葯inari, a small village in the Carpathian Mountains of Romania, raised under the rule of a father who was a Romanian Orthodox priest and a mother who was prone to depression, Emil Cioran wrote his first five books in Romanian. Some of these are collections of brief essays (one or two pages, on average); others are collections of aphorisms. Suffering from insomnia since his adolescent years in Sibiu, the young Cioran studied philosophy in the 鈥渓ittle Paris鈥� of Bucarest.
A prolific publicist, he became a well-known figure, along with Mircea Eliade, Constantin No茂ca, and his future close friend Eugene Ionesco (with whom he shared the Royal Foundation鈥檚 Young Writers Prize in 1934 for his first book, On the Heights of Despair).
Influenced by the German romantics, by Schopenhauer, Nietzsche, and the Lebensphilosophie of Schelling and Bergson, by certain Russian writers, including Chestov, Rozanov, and Dostoyevsky, and by the Romanian poet Eminescu, Cioran wrote lyrical and expansive meditations that were often metaphysical in nature and whose recurrent themes were death, despair, solitude, history, music, saintliness and the mystics (cf. Tears and Saints, 1937) 鈥� all of which are themes that one finds again in his French writings. In his highly controversial book, The Transfiguration of Romania (1937), Cioran, who was at that time close to the Romanian fascists, violently criticized his country and his compatriots on the basis of a contrast between such 鈥渓ittle nations鈥� as Romania, which were contemptible from the perspective of universal history and great nations, such as France or Germany, which took their destiny into their own hands.
After spending two years in Germany, Cioran arrived in Paris in 1936. He continued to write in Romanian until the early 1940s (he wrote his last article in Romanian in 1943, which is also the year in which he began writing in French). The break with Romanian became definitive in 1946, when, in the course of translating Mallarm茅, he suddenly decided to give up his native tongue since no one spoke it in Paris. He then began writing in French a book that, thanks to numerous intensive revisions, would eventually become the impressive 'A Short History of Decay' (1949) -- the first of a series of ten books in which Cioran would continue to explore his perennial obsessions, with a growing detachment that allies him equally with the Greek sophists, the French moralists, and the oriental sages. He wrote existential vituperations and other destructive reflections in a classical French style that he felt was diametrically opposed to the looseness of his native Romanian; he described it as being like a 鈥渟traight-jacket鈥� that required him to control his temperamental excesses and his lyrical flights. The books in which he expressed his radical disillusionment appeared, with decreasing frequency, over a period of more than three decades, during which time he shared his solitude with his companion Simone Bou茅 in a miniscule garret in the center of Paris, where he lived as a spectator more and more turned in on himself and maintaining an ever greater distance from a world that he rejected as much on the historical level (History and Utopia, 1960) as on the ontological (The Fall into Time, 1964), raising his misanthropy to heights of subtlety (The Trouble with being Born, 1973), while also allowing to appear from time to time a humanism composed of irony, bitterness, and preciosity (Exercices d鈥檃dmiration, 1986, and the posthumously published Notebooks).
Denied the right to return to Romania during the years of the communist regime, and attracting international attention only late in his career, Cioran died in Paris in 1995.
Nicolas Cavaill猫s
Translated by Thomas Cousineau
A prolific publicist, he became a well-known figure, along with Mircea Eliade, Constantin No茂ca, and his future close friend Eugene Ionesco (with whom he shared the Royal Foundation鈥檚 Young Writers Prize in 1934 for his first book, On the Heights of Despair).
Influenced by the German romantics, by Schopenhauer, Nietzsche, and the Lebensphilosophie of Schelling and Bergson, by certain Russian writers, including Chestov, Rozanov, and Dostoyevsky, and by the Romanian poet Eminescu, Cioran wrote lyrical and expansive meditations that were often metaphysical in nature and whose recurrent themes were death, despair, solitude, history, music, saintliness and the mystics (cf. Tears and Saints, 1937) 鈥� all of which are themes that one finds again in his French writings. In his highly controversial book, The Transfiguration of Romania (1937), Cioran, who was at that time close to the Romanian fascists, violently criticized his country and his compatriots on the basis of a contrast between such 鈥渓ittle nations鈥� as Romania, which were contemptible from the perspective of universal history and great nations, such as France or Germany, which took their destiny into their own hands.
After spending two years in Germany, Cioran arrived in Paris in 1936. He continued to write in Romanian until the early 1940s (he wrote his last article in Romanian in 1943, which is also the year in which he began writing in French). The break with Romanian became definitive in 1946, when, in the course of translating Mallarm茅, he suddenly decided to give up his native tongue since no one spoke it in Paris. He then began writing in French a book that, thanks to numerous intensive revisions, would eventually become the impressive 'A Short History of Decay' (1949) -- the first of a series of ten books in which Cioran would continue to explore his perennial obsessions, with a growing detachment that allies him equally with the Greek sophists, the French moralists, and the oriental sages. He wrote existential vituperations and other destructive reflections in a classical French style that he felt was diametrically opposed to the looseness of his native Romanian; he described it as being like a 鈥渟traight-jacket鈥� that required him to control his temperamental excesses and his lyrical flights. The books in which he expressed his radical disillusionment appeared, with decreasing frequency, over a period of more than three decades, during which time he shared his solitude with his companion Simone Bou茅 in a miniscule garret in the center of Paris, where he lived as a spectator more and more turned in on himself and maintaining an ever greater distance from a world that he rejected as much on the historical level (History and Utopia, 1960) as on the ontological (The Fall into Time, 1964), raising his misanthropy to heights of subtlety (The Trouble with being Born, 1973), while also allowing to appear from time to time a humanism composed of irony, bitterness, and preciosity (Exercices d鈥檃dmiration, 1986, and the posthumously published Notebooks).
Denied the right to return to Romania during the years of the communist regime, and attracting international attention only late in his career, Cioran died in Paris in 1995.
Nicolas Cavaill猫s
Translated by Thomas Cousineau
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October 22, 2023
Life Inside the Bubble
I feel entitled to interpret and respond to Cioran鈥檚 aphoristic mode with some of the same chiastic development (even if not nearly as witty):
Homo sapiens, uniquely in the animal kingdom, lives in a bubble of language. He (and she) is so immured in this bubble that language and experience are inextricably confounded. The consequence of this involuntary universal peonage is that everyone substitutes things with words and responds to words as if they were things. It鈥檚 the cost of living in the bubble.
Reality is what happens. Everything else is literature.
Literature is an evolved form of language. It is constituted by an ideal philosophy, and ideal religion, and an ideal politics. Or at least as ideal as can be reached by Homo sapiens.
The philosophy of literature is empirically grounded on observation: human beings are the only story-telling animal. Other sentient beings use gestures, sounds, words, phrases, even sentences to communicate with each other. Only people connect words in complex creative ways. This is a blessing and a curse. It makes life inside the language bubble bearable but more or less isolates story-tellers from experience since the stories they tell create their own experience. No one has ever found a way to untangle the two (the attempt is the failed science of epistemology).
To compensate for the consequences of entrapment inside the bubble human beings have invented a religion of language (and a language of religion) that tells the story (actually many stories) of what exists outside the bubble. This of course is paradoxical since that which is beyond the bubble is reality, which as soon as it is brought inside the bubble becomes literature. Prompted by this contradiction, some people declare their language about things outside the bubble to be sacred, thus making life inside the bubble toxic. These people are idolatrous and call those who are not idolaters: atheists, agnostics, non-conformists, dreamers, and sometimes artists, by which they mean useless.
Those who recognise the existence of the bubble and its implications strive to keep story-telling free from such ossification. Feeling in need of support in a hostile world, they too have succumbed to the religious impulse but in a very different way. Their alternative religion is a kind of ethical politics which allows any story to be told and heard. They make no claims to knowing what is outside the bubble or approaching closer to it by working hard at story-telling within the bubble. Their life consists of the unrestricted exchange of words in unusual and unexpected combinations. They often allude to what they imagine might be outside the bubble but remain interested in the imaginations of others. From this they derive pleasure from which many other inhabitants of the bubble take offence.
Typically, those who take offence, whether religious or not, claim that the imaginative new stories are not reflections of reality and should be ignored or even banned as dangerous. This, of course, is a story of limited imagination (and probably a restricted vocabulary; they tend to occur together). Such stories have little weight unless accompanied by violence. Violence - physical, psychological, and spiritual - is the only effective method which allows reality to enter the bubble. Violence shatters the bubble completely. This those offended perceive as satisfying.
Literature has no defense against violence. The bubble is an aberration, as fragile, ephemeral, and temporary as the language upon which it is based.
In the end violence, that is to say, reality prevails.
Of course Cioran is a laconic genius; so he summarises the situation much more compactly: "As long as you live on this side of the terrible, you will find words to express it; once you know it from inside, you will no longer find a single one." It is difficult to cope with such terseness, even among the literate. Such is the character of good literature.
I feel entitled to interpret and respond to Cioran鈥檚 aphoristic mode with some of the same chiastic development (even if not nearly as witty):
Homo sapiens, uniquely in the animal kingdom, lives in a bubble of language. He (and she) is so immured in this bubble that language and experience are inextricably confounded. The consequence of this involuntary universal peonage is that everyone substitutes things with words and responds to words as if they were things. It鈥檚 the cost of living in the bubble.
Reality is what happens. Everything else is literature.
Literature is an evolved form of language. It is constituted by an ideal philosophy, and ideal religion, and an ideal politics. Or at least as ideal as can be reached by Homo sapiens.
The philosophy of literature is empirically grounded on observation: human beings are the only story-telling animal. Other sentient beings use gestures, sounds, words, phrases, even sentences to communicate with each other. Only people connect words in complex creative ways. This is a blessing and a curse. It makes life inside the language bubble bearable but more or less isolates story-tellers from experience since the stories they tell create their own experience. No one has ever found a way to untangle the two (the attempt is the failed science of epistemology).
To compensate for the consequences of entrapment inside the bubble human beings have invented a religion of language (and a language of religion) that tells the story (actually many stories) of what exists outside the bubble. This of course is paradoxical since that which is beyond the bubble is reality, which as soon as it is brought inside the bubble becomes literature. Prompted by this contradiction, some people declare their language about things outside the bubble to be sacred, thus making life inside the bubble toxic. These people are idolatrous and call those who are not idolaters: atheists, agnostics, non-conformists, dreamers, and sometimes artists, by which they mean useless.
Those who recognise the existence of the bubble and its implications strive to keep story-telling free from such ossification. Feeling in need of support in a hostile world, they too have succumbed to the religious impulse but in a very different way. Their alternative religion is a kind of ethical politics which allows any story to be told and heard. They make no claims to knowing what is outside the bubble or approaching closer to it by working hard at story-telling within the bubble. Their life consists of the unrestricted exchange of words in unusual and unexpected combinations. They often allude to what they imagine might be outside the bubble but remain interested in the imaginations of others. From this they derive pleasure from which many other inhabitants of the bubble take offence.
Typically, those who take offence, whether religious or not, claim that the imaginative new stories are not reflections of reality and should be ignored or even banned as dangerous. This, of course, is a story of limited imagination (and probably a restricted vocabulary; they tend to occur together). Such stories have little weight unless accompanied by violence. Violence - physical, psychological, and spiritual - is the only effective method which allows reality to enter the bubble. Violence shatters the bubble completely. This those offended perceive as satisfying.
Literature has no defense against violence. The bubble is an aberration, as fragile, ephemeral, and temporary as the language upon which it is based.
In the end violence, that is to say, reality prevails.
Of course Cioran is a laconic genius; so he summarises the situation much more compactly: "As long as you live on this side of the terrible, you will find words to express it; once you know it from inside, you will no longer find a single one." It is difficult to cope with such terseness, even among the literate. Such is the character of good literature.
June 9, 2010
I'm keeping this around to read whenever I feel like life is horrible and consciousness is the greatest tragedy ever to befall man, since then at least I can feel terrible eloquently.
April 18, 2019
兀鬲賯亘賱 丕賱丨賷丕丞貙 賵兀鬲賯亘賱 丕賱賲賵鬲貙 賱賰賳賷 賱丕 兀鬲賯亘賱 丕賱賵賱丕丿丞...
廿賳 賰丕賳 賷賵丨賳丕 賴賵 丕賱氐丕乇禺 賮賷 丕賱亘乇賷丞
賮廿賳 爻賷賵乇丕賳 賴賵 丕賱氐丕乇禺 賮賷 賵噩賴 丕賱丕賳爻丕賳賷丞
賱賯丿 鬲乇賰 丕賱鬲賳馗賷乇 賵丕賱賲亘丕丿賷亍 賱爻賵丕賴 賲賳 丕賱賮賱丕爻賮丞
賵乇丕丨 賴賵 賷胤賱賯 毓賵丕亍丕 賲賲鬲丿丕 賷賱毓賳 賮賷賴 賰賱 卮賷亍 賵兀賷 卮賷亍
賮鬲鬲丨賵賱 鬲賱賯丕卅賷丕 廿賱賶 卮匕乇丕鬲 賲賱兀鬲 賰鬲亘丕 賱賲 賷乇丿 賰鬲亘丕鬲賴丕 賲賳 丕賱兀爻丕爻
賷賯賵賱 爻賷賵乇丕賳 毓賳 賳賮爻賴
賲孬丕賱亘 丕賱賵賱丕丿丞 賴賵 兀賵賱 賰鬲丕亘 兀賯乇兀賴 賲鬲乇噩賲丕 毓賳 丕賱賳氐 丕賱兀氐賱賷 賰賲丕 賴賵
賱丕 賲禺鬲丕乇丕鬲 賰賲丕 丨丿孬 賲毓 賰鬲亘 賲孬賱 賱賵 賰丕賳 丌丿賲 爻毓賷丿丕 賵睾賷乇賴丕
賵丕賱賰鬲丕亘 賷丿賵乇 丨賵賱 賮賰乇丞 丕賱賲噩賷亍 廿賱賶 賴匕丕 丕賱毓丕賱賲
丕賱睾賱胤丞 丕賱兀賵賱賶 賮賷 賳馗乇 爻賷賵乇丕賳
賵丕賱賲兀爻丕丞 丕賱賰亘乇賶
賵賰賱賴 乇賮囟 賱賴匕丕 丕賱賵噩賵丿 賵賱賲丨丕賵賱丕鬲 丕賱鬲賲爻賰 亘賴 兀賵 鬲丨賯賷賯 丕賱匕丕鬲 賮賷賴
廿賱丕 兀賳 爻賷賵乇丕賳 賵賰賲丕 匕賰乇鬲 賲賳 賯亘賱
賱丕 賷乇賮囟 丕賱賵丕賯毓 亘胤乇賷賯丞 賲丐賱賲丞 賲亘賰賷丞
亘賱 亘胤乇賷賯丞 爻丕禺乇丞 賲囟丨賰丞 亘乇睾賲 賰賵賳賴丕 睾丕乇賯丞 賮賷 丕賱毓丿賲賷丞
----------------------
賴賱 賱丿賷 爻丨賳丞 卮禺氐 賷噩亘 毓賱賷賴 兀賳 賷賮毓賱 卮賷卅丕 賮賷 賴匕賴 丕賱丿賳賷丕責
:D
::::::::::::::::::::::::::::::
毓賳丿賲丕 賳賮賰乇 亘卮賰賱 亘丕鬲 睾賷乇 丨賯賷賯賷
賮廿賳賳丕 賱丕 賳乇賶 爻亘亘丕 丨賯賷賯賷丕
賷丨毓賱賳丕 賳鬲毓亘 兀賳賮爻賳丕 賮賷 丕賱亘乇賴賳丞 毓賱賶 匕賱賰
:P
::::::::::::::::::::::::::::::
賷丕賱賴丕 賲賳 禺賷亘丞 兀賳 賷賰賵賳 兀亘賷賯賵乇
賵賴賵 兀賰孬乇 賲賳 兀丨鬲丕噩 廿賱賷賴 賲賳 丕賱丨賰賲丕亍
賯丿 賰鬲亘 兀賰孬乇 賲賳 孬賱丕孬賲丕卅丞 亘丨孬
賵賷丕賱賴丕 賲賳 乇丕丨丞 兀賳 鬲賰賵賳 賯丿 囟丕毓鬲 賰賱賴丕
:"D
::::::::::::::::::::::::::::::
賳丨賳 賱丕 賳亘丿毓 兀孬乇丕 丿賵賳 兀賳 賳鬲毓賱賯 亘賴
賵丿賵賳 兀賳 賳氐賷乇 毓亘賷丿丕 賱賴
丕賱賰鬲丕亘丞 賴賷 丕賱毓賲賱 丕賱兀賯賱 賳爻賰賷丞 賲賳 兀賷 毓賲賱 賰丕賳
::::::::::::::::::::::::::::::
賱丕 賵噩賵丿 賱兀賷 匕乇丞 賲賳 丕賱賵丕賯毓 賮賷 兀賷 賲賰丕賳
廿賱丕 賮賷 兀丨丕爻賷爻賷 亘丕賱賱丕賵丕賯毓
::::::::::::::::::::::::::::::
丕賱賮乇丨 賳賵乇 賷賱鬲賴賲 賳賮爻賴 亘卮賰賱 丿丕卅賲
廿賳賴 丕賱卮賲爻 賮賷 亘丿丕賷鬲賴丕
::::::::::::::::::::::::::::::
賱丕 賷賲賱賰 賯賳丕毓丕鬲 廿賱丕 匕賱賰 丕賱匕賷 賱賲 賷鬲毓賲賯 賮賷 卮賷亍
::::::::::::::::::::::::::::::
丕賱賱丕賮毓賱..丕賱賱丕禺賱賯..
賴賲丕 丕賱賲賴賲丞 丕賱賵丨賷丿丞 丕賱鬲賷 賮賷 賵爻毓 丕賱丕賳爻丕賳
兀賳 賷乇睾賲 毓賱賷賴丕 賳賮爻賴
::::::::::::::::::::::::::::::
兀賳 鬲賰賵賳 丨賷丕
賮噩兀丞 賴夭鬲賳賷 睾乇丕亘丞 賴匕賴 丕賱毓亘丕乇丞
賰兀賳賴丕 賱丕 鬲賳胤亘賯 毓賱賶 兀丨丿
::::::::::::::::::::::::::::::
亘賲噩乇丿 丕賱鬲賮賰賷乇 賮賷 兀賳 賱丕 兀賰賵賳 賵賱丿鬲
兀賷 爻毓丕丿丞.. 兀賷 丨乇賷丞.. 兀賷 賲丿賶
::::::::::::::::::::::::::::::
賲賻夭賽賷賻賾鬲賽賷 賱丕 鬲鬲賲孬賾賱購 賮賶 兀賳賾賳賷 毓丿賷賲 丕賱賮毓丕賱賷賾丞 亘卮賰賱 賰丕賲賱
亘賱 鬲鬲賲孬賾賱 賮賶 兀賳賾賷 兀乇丿鬲購 匕賱賰
::::::::::::::::::::::::::::::
賯丕毓丿丞 匕賴亘賷丞: 丕鬲乇賰 氐賵乇丞 賳丕賯氐丞賸 毓賳賰
::::::::::::::::::::::::::::::
兀卮噩丕乇 鬲鬲賱賮. 亘賷賵鬲 鬲賳亘孬賯. 孬賲 賵噩賵賴
賵噩賵賴 賮賷 賰賱 賲賰丕賳.
丕賱亘卮乇 賷鬲賮卮賶. 丕賱亘卮乇 爻乇胤丕賳 丕賱兀乇囟
::::::::::::::::::::::::::::::
賱丕 兀丨丿 丕賯鬲賳毓 賲孬賱賷 亘鬲賮丕賴丞 賰賱 卮賷亍
賵賱丕 兀丨丿 鬲毓丕賲賱 賲孬賱賷 亘賲兀爻丕賵賷賾丞 賲毓 賰賱 賴匕丕 丕賱毓丿丿 丕賱賴丕卅賱 賲賳 丕賱兀卮賷丕亍 丕賱鬲丕賮賴丞
::::::::::::::::::::::::::::::
亘賷 丨丕噩丞 賮賷夭賷丕卅賷丞 廿賱賶 丕賱毓丕乇貙 賰丕賳 亘賵丿賷 兀賳 兀賰賵賳 丕亘賳丕 賱噩賱丕丿
::::::::::::::::::::::::::::::
兀卮毓乇 亘丕賳賷 丨乇 賱賰賳賷 兀毓乇賮 賱爻鬲 賰匕賱賰
::::::::::::::::::::::::::::::
賱賵 兀賳 賰賱 賲賳丕 賮賴賲 賱丕賳鬲賴賶 丕賱鬲丕乇賷禺 賲賳匕 夭賲賳 胤賵賷賱
賱賰賳賳丕 賮賷 丕賱兀爻丕爻 毓丕噩夭賵賳 亘賷賵賱賵噩賷丕 毓賳 丕賱賮賴賲
賵丨鬲賶 賱賵 賮賴賲 丕賱噩賲賷毓 亘丕爻鬲孬賳丕亍 卮禺氐 賵丕丨丿
賮廿賳 丕賱鬲丕乇賷禺 爻賷爻鬲賲乇 亘爻亘亘賴...
亘爻亘亘 毓賲丕賴...
亘爻亘亘 賵賴賲 賵丨賷丿
::::::::::::::::::::::::::::::
兀賮乇賾胤 賮賷 丕賱賰賵賳 賰賱賴 賵賮賷 卮賰爻亘賷乇
賲賯丕亘賱 賳鬲賮丞 胤賲兀賳賷賳丞
..
廿賳 賰丕賳 賷賵丨賳丕 賴賵 丕賱氐丕乇禺 賮賷 丕賱亘乇賷丞
賮廿賳 爻賷賵乇丕賳 賴賵 丕賱氐丕乇禺 賮賷 賵噩賴 丕賱丕賳爻丕賳賷丞
賱賯丿 鬲乇賰 丕賱鬲賳馗賷乇 賵丕賱賲亘丕丿賷亍 賱爻賵丕賴 賲賳 丕賱賮賱丕爻賮丞
賵乇丕丨 賴賵 賷胤賱賯 毓賵丕亍丕 賲賲鬲丿丕 賷賱毓賳 賮賷賴 賰賱 卮賷亍 賵兀賷 卮賷亍
賮鬲鬲丨賵賱 鬲賱賯丕卅賷丕 廿賱賶 卮匕乇丕鬲 賲賱兀鬲 賰鬲亘丕 賱賲 賷乇丿 賰鬲亘丕鬲賴丕 賲賳 丕賱兀爻丕爻
賷賯賵賱 爻賷賵乇丕賳 毓賳 賳賮爻賴
兀賳丕 賱丕 兀賲賱賰 兀賷賾 廿賳胤亘丕毓 亘兀賳賷 賲鬲卮丕卅賲. 賱爻鬲 賲亘丕賱睾丕 貙 賮賲丕 兀賯賵賱賴 賴賵 丕賱氐丿賯 亘毓賷賳賴. 乇亘賲丕 兀賳丕 兀賯亘囟 亘賯賵丞 毓賱賶 丕賱賵丕賯毓 貙 賱賰賳 賱賴匕丕 鬲亘乇賷乇賴 貙 賮賯丿 賰鬲亘鬲 丿丕卅賲丕 賮賷 賱丨馗丕鬲 丕賱囟賷賯 賮賯胤 貙 丨賷賳 鬲氐亘丨 賴匕賴 丕賱賰鬲丕亘丞 卮賷卅丕 賲賳 賳賵毓 丕賱毓賱丕噩 貙 賵賮賯 賮賴賲賷. 賱丕賷賰鬲亘 丕賱廿賳爻丕賳 丨賷賳 鬲賲鬲賱賰賴 丕賱乇睾亘丞 賮賷 丕賱乇賯氐. 賱賰賳 賴賳丕賰 丕賱匕賷賳 - 賵賱丕 兀賯氐丿 丕賱兀爻丕鬲匕丞 丕賱噩丕賲毓賷賷賳 賵丨丿賴賲 - 賴賲 賯丕丿乇賵賳 毓賱賶 丕賱賰鬲丕亘丞 賮賷 賵囟毓 賲丨丕賷丿. 毓賲賵賲丕 鬲賰賵賳 丕賱賰鬲丕亘丞 毓丿賷賲丞 丕賱賳賮毓 賱賰賳 胤丕賱賲丕 賱丕 兀丨丿 亘賲爻鬲胤丕毓賴 兀賳 賷毓賲賱 卮賷卅丕 賱兀賷賾賾 兀丨丿 賮賴賵 賷毓賲賱 貙 賵毓賱賶 丕賱兀賯賱 貙 卮賷卅丕 賱賳賮爻賴 - ( 賷卮賮賷 賳賮爻賴 ) 賵賱賵 賱賱丨馗丞. 丕賱氐賮丨丕鬲 丕賱兀賰孬乇 賯鬲丕賲丞 丕賱鬲賷 賰鬲亘鬲賴丕 丿賮毓鬲賳賷 賮賷賲丕 亘毓丿 丕賱賶 丕賱囟丨賰. 賵毓賳丿 賯乇丕卅鬲賴丕 賲乇丞 兀禺乇賶 鬲亘丿賵 亘丕毓孬丞 毓賱賶 丕賱賯賳賵胤 貙 丨賷賳賴丕 兀賯賵賲 亘鬲毓丿賷賱 丕賱兀爻賱賵亘 賮賯胤 賵賱賷爻 丕賱兀賮賰丕乇. 賱賵 賰賳鬲 賲鬲卮丕卅賲丕 丨賯丕 賱賲丕 賯乇兀鬲賳賷 兀賰孬乇賷丞 丕賱賳丕爻 貙 亘賱 賴賲 賷毓鬲亘乇賵賳賷 ( 賲卮噩毓丕 亘丕賱氐賵乇丞 丕賱廿賷噩丕亘賷丞 ). 兀賳丕 購賲丨爻賽賳 亘丕賱睾 丕賱氐睾乇. 廿賱丕 兀賳 丿賵丕卅賷 賱丕 賷賮賷丿 賰賱 賵丕丨丿.
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
賲孬丕賱亘 丕賱賵賱丕丿丞 賴賵 兀賵賱 賰鬲丕亘 兀賯乇兀賴 賲鬲乇噩賲丕 毓賳 丕賱賳氐 丕賱兀氐賱賷 賰賲丕 賴賵
賱丕 賲禺鬲丕乇丕鬲 賰賲丕 丨丿孬 賲毓 賰鬲亘 賲孬賱 賱賵 賰丕賳 丌丿賲 爻毓賷丿丕 賵睾賷乇賴丕
賵丕賱賰鬲丕亘 賷丿賵乇 丨賵賱 賮賰乇丞 丕賱賲噩賷亍 廿賱賶 賴匕丕 丕賱毓丕賱賲
丕賱睾賱胤丞 丕賱兀賵賱賶 賮賷 賳馗乇 爻賷賵乇丕賳
賵丕賱賲兀爻丕丞 丕賱賰亘乇賶
賵賰賱賴 乇賮囟 賱賴匕丕 丕賱賵噩賵丿 賵賱賲丨丕賵賱丕鬲 丕賱鬲賲爻賰 亘賴 兀賵 鬲丨賯賷賯 丕賱匕丕鬲 賮賷賴
廿賱丕 兀賳 爻賷賵乇丕賳 賵賰賲丕 匕賰乇鬲 賲賳 賯亘賱
賱丕 賷乇賮囟 丕賱賵丕賯毓 亘胤乇賷賯丞 賲丐賱賲丞 賲亘賰賷丞
亘賱 亘胤乇賷賯丞 爻丕禺乇丞 賲囟丨賰丞 亘乇睾賲 賰賵賳賴丕 睾丕乇賯丞 賮賷 丕賱毓丿賲賷丞
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賴賱 賱丿賷 爻丨賳丞 卮禺氐 賷噩亘 毓賱賷賴 兀賳 賷賮毓賱 卮賷卅丕 賮賷 賴匕賴 丕賱丿賳賷丕責
:D
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毓賳丿賲丕 賳賮賰乇 亘卮賰賱 亘丕鬲 睾賷乇 丨賯賷賯賷
賮廿賳賳丕 賱丕 賳乇賶 爻亘亘丕 丨賯賷賯賷丕
賷丨毓賱賳丕 賳鬲毓亘 兀賳賮爻賳丕 賮賷 丕賱亘乇賴賳丞 毓賱賶 匕賱賰
:P
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賷丕賱賴丕 賲賳 禺賷亘丞 兀賳 賷賰賵賳 兀亘賷賯賵乇
賵賴賵 兀賰孬乇 賲賳 兀丨鬲丕噩 廿賱賷賴 賲賳 丕賱丨賰賲丕亍
賯丿 賰鬲亘 兀賰孬乇 賲賳 孬賱丕孬賲丕卅丞 亘丨孬
賵賷丕賱賴丕 賲賳 乇丕丨丞 兀賳 鬲賰賵賳 賯丿 囟丕毓鬲 賰賱賴丕
:"D
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賳丨賳 賱丕 賳亘丿毓 兀孬乇丕 丿賵賳 兀賳 賳鬲毓賱賯 亘賴
賵丿賵賳 兀賳 賳氐賷乇 毓亘賷丿丕 賱賴
丕賱賰鬲丕亘丞 賴賷 丕賱毓賲賱 丕賱兀賯賱 賳爻賰賷丞 賲賳 兀賷 毓賲賱 賰丕賳
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賱丕 賵噩賵丿 賱兀賷 匕乇丞 賲賳 丕賱賵丕賯毓 賮賷 兀賷 賲賰丕賳
廿賱丕 賮賷 兀丨丕爻賷爻賷 亘丕賱賱丕賵丕賯毓
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丕賱賮乇丨 賳賵乇 賷賱鬲賴賲 賳賮爻賴 亘卮賰賱 丿丕卅賲
廿賳賴 丕賱卮賲爻 賮賷 亘丿丕賷鬲賴丕
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賱丕 賷賲賱賰 賯賳丕毓丕鬲 廿賱丕 匕賱賰 丕賱匕賷 賱賲 賷鬲毓賲賯 賮賷 卮賷亍
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丕賱賱丕賮毓賱..丕賱賱丕禺賱賯..
賴賲丕 丕賱賲賴賲丞 丕賱賵丨賷丿丞 丕賱鬲賷 賮賷 賵爻毓 丕賱丕賳爻丕賳
兀賳 賷乇睾賲 毓賱賷賴丕 賳賮爻賴
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兀賳 鬲賰賵賳 丨賷丕
賮噩兀丞 賴夭鬲賳賷 睾乇丕亘丞 賴匕賴 丕賱毓亘丕乇丞
賰兀賳賴丕 賱丕 鬲賳胤亘賯 毓賱賶 兀丨丿
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亘賲噩乇丿 丕賱鬲賮賰賷乇 賮賷 兀賳 賱丕 兀賰賵賳 賵賱丿鬲
兀賷 爻毓丕丿丞.. 兀賷 丨乇賷丞.. 兀賷 賲丿賶
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賲賻夭賽賷賻賾鬲賽賷 賱丕 鬲鬲賲孬賾賱購 賮賶 兀賳賾賳賷 毓丿賷賲 丕賱賮毓丕賱賷賾丞 亘卮賰賱 賰丕賲賱
亘賱 鬲鬲賲孬賾賱 賮賶 兀賳賾賷 兀乇丿鬲購 匕賱賰
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賯丕毓丿丞 匕賴亘賷丞: 丕鬲乇賰 氐賵乇丞 賳丕賯氐丞賸 毓賳賰
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兀卮噩丕乇 鬲鬲賱賮. 亘賷賵鬲 鬲賳亘孬賯. 孬賲 賵噩賵賴
賵噩賵賴 賮賷 賰賱 賲賰丕賳.
丕賱亘卮乇 賷鬲賮卮賶. 丕賱亘卮乇 爻乇胤丕賳 丕賱兀乇囟
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賱丕 兀丨丿 丕賯鬲賳毓 賲孬賱賷 亘鬲賮丕賴丞 賰賱 卮賷亍
賵賱丕 兀丨丿 鬲毓丕賲賱 賲孬賱賷 亘賲兀爻丕賵賷賾丞 賲毓 賰賱 賴匕丕 丕賱毓丿丿 丕賱賴丕卅賱 賲賳 丕賱兀卮賷丕亍 丕賱鬲丕賮賴丞
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亘賷 丨丕噩丞 賮賷夭賷丕卅賷丞 廿賱賶 丕賱毓丕乇貙 賰丕賳 亘賵丿賷 兀賳 兀賰賵賳 丕亘賳丕 賱噩賱丕丿
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兀卮毓乇 亘丕賳賷 丨乇 賱賰賳賷 兀毓乇賮 賱爻鬲 賰匕賱賰
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賱賵 兀賳 賰賱 賲賳丕 賮賴賲 賱丕賳鬲賴賶 丕賱鬲丕乇賷禺 賲賳匕 夭賲賳 胤賵賷賱
賱賰賳賳丕 賮賷 丕賱兀爻丕爻 毓丕噩夭賵賳 亘賷賵賱賵噩賷丕 毓賳 丕賱賮賴賲
賵丨鬲賶 賱賵 賮賴賲 丕賱噩賲賷毓 亘丕爻鬲孬賳丕亍 卮禺氐 賵丕丨丿
賮廿賳 丕賱鬲丕乇賷禺 爻賷爻鬲賲乇 亘爻亘亘賴...
亘爻亘亘 毓賲丕賴...
亘爻亘亘 賵賴賲 賵丨賷丿
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兀賮乇賾胤 賮賷 丕賱賰賵賳 賰賱賴 賵賮賷 卮賰爻亘賷乇
賲賯丕亘賱 賳鬲賮丞 胤賲兀賳賷賳丞
..
November 3, 2021
I feel like I have been reading Cioran all my life, yet this is my first time. Impressive what he can fit into a line or two, a paragraph. The aphoristic style makes the book a breeze to read.
I was surprised to hear him deride Nietzsche, to whom he is often compared. He also scoffs at philosophical systems created by the likes of Aristotle and Hegel. He praises Aurelius, Schopenhauer, and Chamfort. His insight is admirable.
This is wisdom and knowledge mixed with disenchantment and detachment. Rejection of everything except the will to reject. If pessimism can be enthusiastic, here it is.
I was surprised to hear him deride Nietzsche, to whom he is often compared. He also scoffs at philosophical systems created by the likes of Aristotle and Hegel. He praises Aurelius, Schopenhauer, and Chamfort. His insight is admirable.
This is wisdom and knowledge mixed with disenchantment and detachment. Rejection of everything except the will to reject. If pessimism can be enthusiastic, here it is.
December 29, 2019
This book published as an essay is a surprising collection of relentless thoughts put down by Emil Cioran over life.
Cioran considers life not as an ontological abstraction, but a situation in which you have to go out, meet people in the street, have a look at your prospects, whether they are your own books in a library or job offers in your corner agency... You would feel quite the same at reading a notepad teeming with wild thoughts all over the place.
Is Cioran sportsmanlike or is he putting a sham sometimes? In the end, does that matter? Emil Cioran is a man of contradictions, yet, highly consistent in his contradictions. He writes every one of them in earnest.
Here are some thoughts to mull over. Please help yourself :
Some have misfortunes, others have obsessions. Who are most to be pitied?
'Certains ont des malheurs d'autres des obsessions. Lesquels sont les plus 脿 plaindre ?'
As arts are going deeper into an impasse, artists multiply. This abnormality isn't one if one thinks that art, on the decline, has become impossible and easy at the same time.
'A mesure que l'art s'enfonce dans l'impasse, les artistes se multiplient. Cette anomalie cesse d'en 锚tre une, si l'on songe que l'art, en voie d'茅puisement, est devenu 脿 la fois impossible et facile.'
All these nations were great, because they had great prejudices. They no longer have. Are they nations still? Scattered crowds, at best.
'Tous ces peuples 茅taient grands, parce qu'ils avaient de grands pr茅jug茅s. Ils n'en ont plus. Sont-ils encore des nations? Tout au plus des foules d茅sagr茅g茅es.'
To get up, wash yourself, then wait for some kind of blues or angst. I would give the whole universe and Shakespeare for a bit of ataraxia.
'Se lever, faire sa toilette et puis attendre quelque vari茅t茅 impr茅vue de cafard ou d'effroi. Je donnerais l'univers entier et tout Shakespeare pour un brin d'ataraxie.'
If attachment is an evil, the cause lies in the disgrace of being born, because being born is being attached. Detachment should consist in suppressing this disgrace, the most severe and unbearable of all.
'Si l'attachement est un mal, il faut en chercher la cause dans le scandale de la naissance, car na卯tre c'est s'attacher. Le d茅tachement devrait donc s'appliquer 脿 faire dispara卯tre les traces de ce scandale, le plus grave et le plus intol茅rable de tous.'
When you refuse to be lyrical, to fill a page becomes a trial : why bother writing exactly what you meant in the first place?
'Quand on se refuse au lyrisme, noircir une page devient une 茅preuve: 脿 quoi bon 茅crire pour dire exactement ce qu'on avait 脿 dire ?'
Cioran considers life not as an ontological abstraction, but a situation in which you have to go out, meet people in the street, have a look at your prospects, whether they are your own books in a library or job offers in your corner agency... You would feel quite the same at reading a notepad teeming with wild thoughts all over the place.
Is Cioran sportsmanlike or is he putting a sham sometimes? In the end, does that matter? Emil Cioran is a man of contradictions, yet, highly consistent in his contradictions. He writes every one of them in earnest.
Here are some thoughts to mull over. Please help yourself :
Some have misfortunes, others have obsessions. Who are most to be pitied?
'Certains ont des malheurs d'autres des obsessions. Lesquels sont les plus 脿 plaindre ?'
As arts are going deeper into an impasse, artists multiply. This abnormality isn't one if one thinks that art, on the decline, has become impossible and easy at the same time.
'A mesure que l'art s'enfonce dans l'impasse, les artistes se multiplient. Cette anomalie cesse d'en 锚tre une, si l'on songe que l'art, en voie d'茅puisement, est devenu 脿 la fois impossible et facile.'
All these nations were great, because they had great prejudices. They no longer have. Are they nations still? Scattered crowds, at best.
'Tous ces peuples 茅taient grands, parce qu'ils avaient de grands pr茅jug茅s. Ils n'en ont plus. Sont-ils encore des nations? Tout au plus des foules d茅sagr茅g茅es.'
To get up, wash yourself, then wait for some kind of blues or angst. I would give the whole universe and Shakespeare for a bit of ataraxia.
'Se lever, faire sa toilette et puis attendre quelque vari茅t茅 impr茅vue de cafard ou d'effroi. Je donnerais l'univers entier et tout Shakespeare pour un brin d'ataraxie.'
If attachment is an evil, the cause lies in the disgrace of being born, because being born is being attached. Detachment should consist in suppressing this disgrace, the most severe and unbearable of all.
'Si l'attachement est un mal, il faut en chercher la cause dans le scandale de la naissance, car na卯tre c'est s'attacher. Le d茅tachement devrait donc s'appliquer 脿 faire dispara卯tre les traces de ce scandale, le plus grave et le plus intol茅rable de tous.'
When you refuse to be lyrical, to fill a page becomes a trial : why bother writing exactly what you meant in the first place?
'Quand on se refuse au lyrisme, noircir une page devient une 茅preuve: 脿 quoi bon 茅crire pour dire exactement ce qu'on avait 脿 dire ?'
July 24, 2022
賳丨賳購 賱丕 賳乇賰購囟購 賳丨賵 丕賱賲賵鬲 貙 賳丨賳購 賳賮乇購賾 賲賳 賰丕乇孬丞 丕賱賵賱丕丿丞 .
...
( 賱丕 鬲丨賰賲 毓賱賶 兀丨丿 賯亘賱 兀賳 鬲囟毓 賳賮爻賰 賲賰丕賳賴 ) .
賴匕賴 丕賱丨賰賲丞 丕賱賯丿賷賲丞 鬲噩毓賱 賰賱 丨賰賲 賲爻鬲丨賷賱 貙 賱兀賳賳丕 鬲丨丿賷丿賸丕 貙 賱丕 賳丨賰賲 毓賱賶 兀丨丿 廿賱賻賾丕 賱兀賳賳丕 賱丕 賳爻鬲胤賷毓 兀賳 賳囟毓 兀賳賮爻賳丕 賲賰丕賳賴 .
...
丕賱亘卮乇 賱丕 賷賴噩乇賵賳 丕賱噩丨賷賲 廿賱賻賾丕 賱廿毓丕丿丞 廿賳卮丕卅賴 賮賷 賲賰丕賳 丌禺乇 .
...
兀賷賻賾 卮賷亍 鬲禺丕胤亘 丕賱賲賵爻賷賯賶 賮賷賳丕 責 賲賳 丕賱氐毓亘 兀賳 賳毓乇賮 匕賱賰 貙 賱賰賳 丕賱兀賰賷丿 兀賳 丕賱賲賳胤賯丞 丕賱鬲賷 鬲賱賲爻賴丕 鬲亘賱睾 賲賳 丕賱毓賲賯 丨賻丿賻賾 兀賳 丕賱噩賳賵賳 賳賮爻賴 賷毓噩夭 毓賳 丿禺賵賱賴丕 .
...
丕賱禺賵賮 賲賳 兀賳 賳賰賵賳 賲禺丿賵毓賷賳 賱賷爻 爻賵賶 丕賱氐賷睾丞 丕賱賲亘鬲匕賱丞 賱賱亘丨孬 毓賳 丕賱丨賯賷賯丞 .
...
賮賷 賯乇丕乇丞 賳賮爻賴 賷卮毓乇 賰賱賹賾 賲賳賾丕 亘兀賳賾賴 禺丕賱丿 賵 賷毓鬲賯丿 匕賱賰 丨鬲賶 賵 賴賵 賷毓賱賲 兀賳賴 賲賷鬲賹 亘毓丿 賱丨馗丞 . 賳丨賳 賳爻鬲胤賷毓 兀賳 賳賮賴賲 賰賱 卮賷亍 貙 兀賳 賳爻賱賾賲 亘賰賱賾 卮賷亍 貙 兀賳 賳丿乇賰 賰賱 卮賷亍 貙 亘丕爻鬲孬賳丕亍 賲賵鬲賳丕 貙 賮賷 丨賷賳 兀賳賳丕 賳賮賰乇 賮賷賴 亘賱丕 丕賳賯胤丕毓 賲匕毓賽賳賷賳 .
...
( 賱丕 鬲丨賰賲 毓賱賶 兀丨丿 賯亘賱 兀賳 鬲囟毓 賳賮爻賰 賲賰丕賳賴 ) .
賴匕賴 丕賱丨賰賲丞 丕賱賯丿賷賲丞 鬲噩毓賱 賰賱 丨賰賲 賲爻鬲丨賷賱 貙 賱兀賳賳丕 鬲丨丿賷丿賸丕 貙 賱丕 賳丨賰賲 毓賱賶 兀丨丿 廿賱賻賾丕 賱兀賳賳丕 賱丕 賳爻鬲胤賷毓 兀賳 賳囟毓 兀賳賮爻賳丕 賲賰丕賳賴 .
...
丕賱亘卮乇 賱丕 賷賴噩乇賵賳 丕賱噩丨賷賲 廿賱賻賾丕 賱廿毓丕丿丞 廿賳卮丕卅賴 賮賷 賲賰丕賳 丌禺乇 .
...
兀賷賻賾 卮賷亍 鬲禺丕胤亘 丕賱賲賵爻賷賯賶 賮賷賳丕 責 賲賳 丕賱氐毓亘 兀賳 賳毓乇賮 匕賱賰 貙 賱賰賳 丕賱兀賰賷丿 兀賳 丕賱賲賳胤賯丞 丕賱鬲賷 鬲賱賲爻賴丕 鬲亘賱睾 賲賳 丕賱毓賲賯 丨賻丿賻賾 兀賳 丕賱噩賳賵賳 賳賮爻賴 賷毓噩夭 毓賳 丿禺賵賱賴丕 .
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丕賱禺賵賮 賲賳 兀賳 賳賰賵賳 賲禺丿賵毓賷賳 賱賷爻 爻賵賶 丕賱氐賷睾丞 丕賱賲亘鬲匕賱丞 賱賱亘丨孬 毓賳 丕賱丨賯賷賯丞 .
...
賮賷 賯乇丕乇丞 賳賮爻賴 賷卮毓乇 賰賱賹賾 賲賳賾丕 亘兀賳賾賴 禺丕賱丿 賵 賷毓鬲賯丿 匕賱賰 丨鬲賶 賵 賴賵 賷毓賱賲 兀賳賴 賲賷鬲賹 亘毓丿 賱丨馗丞 . 賳丨賳 賳爻鬲胤賷毓 兀賳 賳賮賴賲 賰賱 卮賷亍 貙 兀賳 賳爻賱賾賲 亘賰賱賾 卮賷亍 貙 兀賳 賳丿乇賰 賰賱 卮賷亍 貙 亘丕爻鬲孬賳丕亍 賲賵鬲賳丕 貙 賮賷 丨賷賳 兀賳賳丕 賳賮賰乇 賮賷賴 亘賱丕 丕賳賯胤丕毓 賲匕毓賽賳賷賳 .
November 20, 2015
賱賷爻 賲鬲賵丕囟毓賸丕 匕賱賰 丕賱匕賶 賷賰乇賴 賳賮爻賴
賰鬲丕亘 賮賶 賲丿賷丨 丕賱毓購夭賱丞 賵丕賱賲賵鬲
賰鬲丕亘 賮賶 賲丿賷丨 丕賱毓購夭賱丞 賵丕賱賲賵鬲
October 18, 2008
I do not read philosophy generally, because it confuses me almost immediately given that I have no capacity whatsoever for abstractions. But I can do E. M. Cioran. Cioran was born in Romania in 1911, spent most of his working life in France, mulling over suicide and death while living to a ripe old age. Much of Cioran鈥檚 work is in the form of aphorisms or maxims, and are therefore accessible (I re-read this book recently; I return to his work every few years or so). He is the most relentlessly pessimistic human being that has ever lived, which you might have guessed from the title, and this makes for some really, really fun reading. Sometimes he makes a lot of sense. Below are a few of my favorites. Several mention poetry, which is not one of his chief preoccupations, and yet he says interesting things about it:
飩� Every misanthrope, however sincere, at times reminds me of that old poet, bedridden and utterly forgotten, who in a rage with his contemporaries declared he would receive none of them. His wife, out of charity, would ring at the door from time to time鈥�
飩� As art sinks into paralysis, artists multiply. This anomaly ceases to be one if we realize that art, on its way to exhaustion, has become both impossible and easy.
飩� All these poems where it is merely the Poem that is in question 鈥� a whole poetry with no other substance than itself! What would we say of a prayer whose object was religion?
飩� When I torment myself a little too much for not working, I tell myself that I might just as well be dead and that then I would be working still less鈥�
飩� Only one thing matters: learning to be the loser.
飩� A writer has left his mark on us not because we have read him a great deal but because we have thought of him more than is warranted. I have not frequented Baudelaire or Pascal particularly, but I have not stopped thinking of their miseries, which have accompanied me everywhere as faithfully as my own.
飩� Only what proceeds from emotion or from cynicism is real. All the rest is 鈥渢alent.鈥�
飩� Sometimes I wish I were a cannibal 鈥� less for the pleasure of eating someone than for the pleasure of vomiting him.
That last one about the cannibal cracked me up so much in the middle of the night that my laughter scared the cats off the bed. By this I mean that pessimism does get to a point where it is hilarious. And yet, Cioran is not a clown. Nope.
飩� Every misanthrope, however sincere, at times reminds me of that old poet, bedridden and utterly forgotten, who in a rage with his contemporaries declared he would receive none of them. His wife, out of charity, would ring at the door from time to time鈥�
飩� As art sinks into paralysis, artists multiply. This anomaly ceases to be one if we realize that art, on its way to exhaustion, has become both impossible and easy.
飩� All these poems where it is merely the Poem that is in question 鈥� a whole poetry with no other substance than itself! What would we say of a prayer whose object was religion?
飩� When I torment myself a little too much for not working, I tell myself that I might just as well be dead and that then I would be working still less鈥�
飩� Only one thing matters: learning to be the loser.
飩� A writer has left his mark on us not because we have read him a great deal but because we have thought of him more than is warranted. I have not frequented Baudelaire or Pascal particularly, but I have not stopped thinking of their miseries, which have accompanied me everywhere as faithfully as my own.
飩� Only what proceeds from emotion or from cynicism is real. All the rest is 鈥渢alent.鈥�
飩� Sometimes I wish I were a cannibal 鈥� less for the pleasure of eating someone than for the pleasure of vomiting him.
That last one about the cannibal cracked me up so much in the middle of the night that my laughter scared the cats off the bed. By this I mean that pessimism does get to a point where it is hilarious. And yet, Cioran is not a clown. Nope.
April 21, 2025
讴鬲丕亘 毓噩蹖亘蹖 亘賵丿. 亘賴鬲乇 丕夭 毓噩蹖亘 趩蹖夭蹖 倬蹖丿丕 賳賲蹖鈥屭┵嗁� 亘賴卮 賳爻亘鬲 亘丿賲. 讴鬲丕亘 丕夭 噩賲賱丕鬲 讴賵鬲丕賴 鬲卮讴蹖賱 卮丿賴.噩賲賱丕鬲 丿賵 爻賴 禺胤蹖. 趩賵乇丕賳 賳馗乇丕鬲卮 乇賵 丿乇 賲賵囟賵毓丕鬲 诏賵賳丕诏賵賳 亘蹖丕賳 讴乇丿賴. 丕夭 丕賵賳 讴鬲丕亘鈥屬囏ж池� 讴賴 鬲讴賱蹖賮賲 丿乇 丨丕賱 丨丕囟乇 亘丕賴丕卮 夭蹖丕丿 賲毓賱賵賲 賳蹖爻鬲.亘丕蹖丿 夭賲丕賳 亘诏匕乇賴. 亘丕蹖丿 賲噩丿丿丕 亘禺賵賳賲. 亘賴 賳馗乇賲 倬鬲丕賳爻蹖賱 丕蹖賳 乇賵 丿丕乇賴 趩賳丿 亘丕乇 禺賵丕賳丿賴 亘卮賴.賳賲蹖鈥屫堎嗁� 丕蹖賳 賵蹖跇诏蹖 賲孬亘鬲蹖 丕爻鬲 蹖丕 賲賳賮蹖! 蹖賴 爻乇蹖 丨乇賮賴丕卮 亘丿噩賵乇蹖 亘賴 丿賱賲 賲蹖鈥屬嗀簇池� 賵 丨丕賱 賲蹖鈥屭┴必�..蹖賴 爻乇蹖 丨乇賮鈥屬囏ж促� 賳賲蹖鈥屬佡囐呟屫�..蹖賴 爻乇蹖 丨乇賮鈥屬囏ж� 賴賲 亘蹖 賳賴丕蹖鬲 氐乇蹖丨 賵 乇讴 賲孬賱 蹖賴 爻蹖賱蹖 賲丨讴賲 亘賵丿.亘丕卮賴 丌賯丕蹖 趩賵乇丕賳貙 禺賵丿賲賲 賲蹖鈥屫堎嗁� 丕蹖賳丕 乇賵貙 賵賱蹖 賲賳 亘乇丕蹖 夭賳丿诏蹖 鬲賵 丕蹖賳 丿賳蹖丕蹖 賱丕賲氐亘 賳蹖丕夭 丿丕乇賲 诏丕賴蹖 蹖賴 趩蹖夭丕蹖蹖 賳丕丿蹖丿賴 亘诏蹖乇賲 賵 乇賵賲賵 亘讴賳賲 丕賵賳 賵乇 賵 卮鬲乇 丿蹖丿蹖 賳丿蹖丿蹖 乇賮鬲丕乇 讴賳賲貙丨丕賱丕 賳蹖丕夭蹖 賳亘賵丿 丕蹖賳賯丿乇 乇讴 亘诏蹖 亘賴賲賵賳 讴賴 賲卮鬲蹖...丨爻賲 亘毓丿 禺賵賳丿賳 讴鬲丕亘貙 賲孬賴 丨爻 鬲賳賴丕蹖蹖 亘毓丿 卮賱賵睾蹖賴(丨氐蹖賳).賳賲蹖鈥屫堎嗁� 趩乇丕 亘丕蹖丿 丨爻 丌賴賳诏 乇倬 賮丕乇爻蹖 亘毓丿 禺賵賳丿賳 讴鬲丕亘 賮賱爻賮蹖 亘蹖丕丿 爻乇丕睾賲..
丿賵爻鬲丕賳賴 毓乇囟 賲蹖鈥屭┵嗁呚� 丕诏乇 丨丕賱 乇賵丨蹖 賲爻丕毓丿蹖 賳丿丕乇蹖丿貙 爻賲鬲 丕蹖賳 讴鬲丕亘 賳乇蹖丿. 賲蹖鬲賵賳賴 賲孬賱 丌鬲卮蹖 亘乇 卮毓賱賴 賴丕蹖 睾賲鬲賵賳 毓賲賱 讴賳賴. 賮毓賱丕 賳賲乇賴 3.5 乇賵 亘乇丕卮 賱丨丕馗 賲蹖鈥屭┵嗁� 鬲丕 夭賲丕賳蹖 讴賴 賲噩丿丿丕 亘禺賵賳賲 賵 亘鬲賵賳賲 亘蹖卮鬲乇 賴囟賲卮 讴賳賲.
丿賵爻鬲丕賳賴 毓乇囟 賲蹖鈥屭┵嗁呚� 丕诏乇 丨丕賱 乇賵丨蹖 賲爻丕毓丿蹖 賳丿丕乇蹖丿貙 爻賲鬲 丕蹖賳 讴鬲丕亘 賳乇蹖丿. 賲蹖鬲賵賳賴 賲孬賱 丌鬲卮蹖 亘乇 卮毓賱賴 賴丕蹖 睾賲鬲賵賳 毓賲賱 讴賳賴. 賮毓賱丕 賳賲乇賴 3.5 乇賵 亘乇丕卮 賱丨丕馗 賲蹖鈥屭┵嗁� 鬲丕 夭賲丕賳蹖 讴賴 賲噩丿丿丕 亘禺賵賳賲 賵 亘鬲賵賳賲 亘蹖卮鬲乇 賴囟賲卮 讴賳賲.
February 6, 2017
賮賷 丕賱鬲賰乇賷夭 賱賱毓丿賲貙 毓丕卮 爻賷賵乇丕賳 賲丕 賷賯丕乇亘 丕賱賯乇賳貙 賱丕 賷賮毓賱 卮賷亍 毓丿丕 丕丿毓丕亍 丕賱爻兀賲 賲賳 丕賱賵噩賵丿貙 賵噩賵丿賴
October 27, 2018
賷賮鬲乇囟 兀賱丕 賳丐賱賮 丕賱賰鬲亘 廿賱丕 賱賳賯賵賱 賮賷賴丕 賲丕 賱丕 賳噩乇丐 毓賱賶 丕賱亘賵丨 亘賴 賱兀丨丿.
May 30, 2016
Madre m铆a,鈥� c贸mo andaba necesitando esta cachetada. Me gustar铆a que dentro de muchos a帽os, cuando piense en los libros que salvaron mi vida, figure entre los primeros. Siento mucha simpat铆a, adem谩s, por todos los desesperados que, despu茅s de leer sus libros, le mandaban cartas cont谩ndole sus problemas.
Como todos los libros de Emil son exorcismos nocturnos , uno va desarrollando cierto olfato/goce para descifrar sus humores: cuando es ir贸nico, cuando exagera, cuando escribe sabiendo que ni 茅l mismo se toma demasiado en serio, etc. Me han llamado mucho la atenci贸n estos dos fragmentos, que en la lectura se me presentaron como parad贸jicos y conmovedores:
Hay ferocidad en todos los estados de 谩nimo, salvo en el de la alegr铆a. La palabra 鈥楽chadenfreude鈥�, alegr铆a maligna, es un contrasentido. Hacer el mal constituye un placer, no una alegr铆a. La alegr铆a, 煤nica victoria sobre el mundo, es pura en su esencia; es, por tanto, irreductible al placer, sospechoso siempre, en s铆 mismo y en sus manifestaciones.
Empiezo y vuelvo a empezar una carta, no avanzo, me atasco, 驴qu茅 decir y c贸mo? Ni siquiera s茅 ya a qui茅n estaba dirigida. S贸lo la pasi贸n o el inter茅s encuentran de inmediato el tono necesario. Por desgracia, el desapego es indiferencia para el lenguaje, insensibilidad frente a las palabras. Ahora bien, al perder el contacto con las palabras, se pierde el contacto con los seres.
Los 煤ltimos refugios frente al mundo son la alegr铆a y el lenguaje. Son dos fragmentos parad贸jicos, ya que durante p谩ginas y p谩ginas denost贸 tanto a los sentimientos y al lenguaje. Constantemente la tensi贸n entre el deseo de querer renunciar (al modo imposible de un estoico-budista) y de no poder hacerlo.
October 20, 2020
You know, I used to love this book, and having started to re-read one day due to an insomnia outburst that left me incapable of sleeping, long after I had renounced philosophical pessimism, I am honestly struggling to express how garbage it is, how embarrassed I feel for ever having liked it, and the amount of second-hand embarrassment I feel for the amount of people around me, in such pessimist circles, that considered Cioran to be in possession of some sort of "deep truth" that most people would not admit to.
I could write an in-depth review of this, explaining in detail why it's irredeemable garbage with nothing good about it except for a handful of decent - never good, and specially never insightful! - however, such a thing would take a lot more effort than this little tome deserves. So let's just give some disparaging remarks on it, shall we?
First, being a book of aphorisms, there are only two merits that this book can have: how insightful it is, and how well written it is. Well, for all reading enthusiasts out there, I am glad to announce that Cioran belongs in the bin in both aspects.
Intellectually, what Cioran has to offer here can barely even be called philosophy, and trust me, I am no lover of philosophy. All we have here is a bunch of gloomy thoughts, many of which say nothing at all, many of which directly contradict each other, many of which are just trivial and inane pap presented with an embarrassing degree of self-importance.
Cioran is the worst example of the braindead levels of stupid, philistine "middle class melancholic" - not being a worker, a wage earner, being an aesthete with some insomnia, all that he cares about is about gloominess - truth, insight, everything worthwhile we seek when reading someone else's opinion on something is sacrificed on the altar of "what is the gloomiest position I can possibly hold in this topic?" Cioran is thus an aestheticist, meaning that how something sounds, how aesthetically pleasing it is for him, is what determines what position he will hold at any given point - not its truth value.
Like all middle class melancholic philistines, Cioran thinks himself very unique: he understands the misery of things better than anyone, he is the most tortured soul around, he isn't part of the stupid rabble that actually participates in civil society and the State, no no no! He is far above such petty things, only dark and gloomy uncomfortable truths matter to this "rebellious genius"!
That an adult man can write:
"According to the Cabbala, God created souls at the beginning, and they were all before him in the form they would later take in their incarnation. Each soul, when its time has come, receives the order to join the body destined for it, but each to no avail implores its Creator to spare it this bondage and this corruption.
The more I think of what could not have failed to happen when my own soul鈥檚 turn came, the more I realize that if there was one soul which more than the rest must have resisted incarnation, it was mine."
Without realizing how absurdly self-important it sounds ("Yes, my suffering is so unique that, of all the people that ever existed, undeniably it is I who loathe life the most, who resisted incarnation the most!"), it is frankly embarrassing.
I tried to write notes on this, however, because the entire book is nothing but tepid, mindless statements, vomited unto the reader for 200+ short pages, it just became me making fun of Cioran's pretentious, unbelievably narcissistic nonsense. For some examples, the notes for:
"In periods of sterility, one should hibernate, sleep day and night to preserve one鈥檚 strength, instead of wasting it in mortification and rage."
Just read:
"Most people, unlike the poor oh-so-underprivileged and tortured Mr. Cioran, do not get to just "sleep day and night" to preserve their strength - the expenditure of their strength is necessary for their survival, for that is what the selling of labor-power is, and most people can only survive through that... It is one of the clearest examples of Cioran's class, which shines through in every tepid, impotent aphorism of this dreadful book, and of how utterly clueless he is of the world outside himself, this little abstract gloomy world that exists solely inside his head and of the readers stupid enough to agree with him, where he can narcissistically bitch and moan in writing all day without knowing any suffering besides that of the idiotic middle class melancholic."
Chapter 8 is easily the worst chapter (which is saying a lot) for it is about politics, and boy is Cioran a fucking idiot with no conception of how anything works besides voluntarist clich茅s that even Schopenhauer would have found impotently and embarrassingly adolescent. My favorite note from this chapter came on the following aphorism:
"What spoils the French Revolution for me is that it all happens on stage, that its promoters are born actors, that the guillotine is merely a decor. The history of France, as a whole, seems a bespoke history, an acted history: everything in it is perfect from the theatrical point of view. It is a performance, a series of gestures and events which are watched rather than suffered, a spectacle that takes ten centuries to put on. Whence the impression of frivolity which even the Terror affords, seen from a distance."
Where I wrote:
"The whole of the French sans-cullotes and bourgeois revolutionaries apologizes, dear Mr. Cioran, that people were excited for literally the biggest event in human history, which was the beginning of the age of revolution in Europe, which swept away centuries of feudal bondage, that some theatricality was had! Not genuine enough for you as the idle, frivolous chatter of upper-class gentlemen is, eh?"
For Cioran, philistine contrarian for the sake of being contrarian, what is frivolous is true greatness, and world-historic events that changed the whole world are frivolous (of course, other people are too stupid to notice that, unlike our "genius" Mr. Cioran!). No aphorism in the book expresses this contrarian faux-superiority better than this:
"Montaigne, a sage, has had no posterity. Rousseau, an hysteric, still stirs nations. I like only the thinkers who have inspired no tribune of the people."
So, what about style?
Well, if what little I have posted here has not made it clear, Cioran is a hack writer par excellence. The only thing to be found here is dark Romantic clich茅s that were always bad writing and already considered hacky more than a century before this book was written. Not content to be stupid and philistine, Cioran's mind also seems to be ruled exclusively by the most tired clich茅s available in such literature, which makes reading the book a similar experience to trying to endure a teenager on discord venting to you for 5 hours straight in what he thinks is a "poetic" fashion but in what is in reality an embarrassing deluge of self-absorbed, narcissistic self-pity.
THE AMOUNT OF TIMES that Cioran just repeats the same stylistic format is just insane - per example, sentence that are just "To [do something]" and nothing else. Per example:
"To have committed every crime but that of being a father."
"To get up in the morning, wash and then wait for some unforeseen variety of dread or depression.
I would give the whole universe and all of Shakespeare for a grain of ataraxy."
"To walk along a stream, to pass, to flow with the water, without effort, without haste, while death continues in us its ruminations, its uninterrupted soliloquy鈥�"
"To claim you are more detached, more alien to everything than anyone, and to be merely a fanatic of indifference!"
Among many, many others.
Some people say "Yeah Cioran's philosophy is basically nothing but gloomy feelings and it isn't even consistent, it contradicts itself all the time, but his prose is pretty beautiful, he's a great stylist." With the explanation I have given above, I reply to that with a simple "Fuck you" because this is hack writing of the worst, most adolescent sort. This is hot garbage. This makes 50 Shades of Grey feel like Lolita. This is several magnitudes worse than a not inconsiderable percentage of fanfiction written by teenagers with no literary background whatsoever. It is so bad that, should someone defend it to me, no matter how good their opinions on literature normally are, how better they understand it than me, I would immediately think less of all their judgements in literature.
In conclusion, I will just repeat myself - Cioran does it nonstop in this book so I don't think any reader of his will mind :^) - and say that I am frankly embarrassed of ever having been into something like this. It is cringe of the worst sort, nothing but middle class aestheticism, moping, written in a puerile style that consists of nothing but braindead "dark" Romantic clich茅s, legitemiately some of the worst aphoristic styling I've ever seen and so easy to do that I did it as a teenager all the time.
This book is a complete and utter embarrassment, I would cringe to death if I published something that was so attached to my name as this is with Cioran's - however, it can never be even close to as embarrassing as the people that think that Cioran reached some "deep truth" here, or people that think his gloomy style is anything but shabby Romantic clich茅s that even ghost-writers for medieval-themed romance novels for teenage girls and shabby action thrillers for teenage boys would laugh at.
I could write an in-depth review of this, explaining in detail why it's irredeemable garbage with nothing good about it except for a handful of decent - never good, and specially never insightful! - however, such a thing would take a lot more effort than this little tome deserves. So let's just give some disparaging remarks on it, shall we?
First, being a book of aphorisms, there are only two merits that this book can have: how insightful it is, and how well written it is. Well, for all reading enthusiasts out there, I am glad to announce that Cioran belongs in the bin in both aspects.
Intellectually, what Cioran has to offer here can barely even be called philosophy, and trust me, I am no lover of philosophy. All we have here is a bunch of gloomy thoughts, many of which say nothing at all, many of which directly contradict each other, many of which are just trivial and inane pap presented with an embarrassing degree of self-importance.
Cioran is the worst example of the braindead levels of stupid, philistine "middle class melancholic" - not being a worker, a wage earner, being an aesthete with some insomnia, all that he cares about is about gloominess - truth, insight, everything worthwhile we seek when reading someone else's opinion on something is sacrificed on the altar of "what is the gloomiest position I can possibly hold in this topic?" Cioran is thus an aestheticist, meaning that how something sounds, how aesthetically pleasing it is for him, is what determines what position he will hold at any given point - not its truth value.
Like all middle class melancholic philistines, Cioran thinks himself very unique: he understands the misery of things better than anyone, he is the most tortured soul around, he isn't part of the stupid rabble that actually participates in civil society and the State, no no no! He is far above such petty things, only dark and gloomy uncomfortable truths matter to this "rebellious genius"!
That an adult man can write:
"According to the Cabbala, God created souls at the beginning, and they were all before him in the form they would later take in their incarnation. Each soul, when its time has come, receives the order to join the body destined for it, but each to no avail implores its Creator to spare it this bondage and this corruption.
The more I think of what could not have failed to happen when my own soul鈥檚 turn came, the more I realize that if there was one soul which more than the rest must have resisted incarnation, it was mine."
Without realizing how absurdly self-important it sounds ("Yes, my suffering is so unique that, of all the people that ever existed, undeniably it is I who loathe life the most, who resisted incarnation the most!"), it is frankly embarrassing.
I tried to write notes on this, however, because the entire book is nothing but tepid, mindless statements, vomited unto the reader for 200+ short pages, it just became me making fun of Cioran's pretentious, unbelievably narcissistic nonsense. For some examples, the notes for:
"In periods of sterility, one should hibernate, sleep day and night to preserve one鈥檚 strength, instead of wasting it in mortification and rage."
Just read:
"Most people, unlike the poor oh-so-underprivileged and tortured Mr. Cioran, do not get to just "sleep day and night" to preserve their strength - the expenditure of their strength is necessary for their survival, for that is what the selling of labor-power is, and most people can only survive through that... It is one of the clearest examples of Cioran's class, which shines through in every tepid, impotent aphorism of this dreadful book, and of how utterly clueless he is of the world outside himself, this little abstract gloomy world that exists solely inside his head and of the readers stupid enough to agree with him, where he can narcissistically bitch and moan in writing all day without knowing any suffering besides that of the idiotic middle class melancholic."
Chapter 8 is easily the worst chapter (which is saying a lot) for it is about politics, and boy is Cioran a fucking idiot with no conception of how anything works besides voluntarist clich茅s that even Schopenhauer would have found impotently and embarrassingly adolescent. My favorite note from this chapter came on the following aphorism:
"What spoils the French Revolution for me is that it all happens on stage, that its promoters are born actors, that the guillotine is merely a decor. The history of France, as a whole, seems a bespoke history, an acted history: everything in it is perfect from the theatrical point of view. It is a performance, a series of gestures and events which are watched rather than suffered, a spectacle that takes ten centuries to put on. Whence the impression of frivolity which even the Terror affords, seen from a distance."
Where I wrote:
"The whole of the French sans-cullotes and bourgeois revolutionaries apologizes, dear Mr. Cioran, that people were excited for literally the biggest event in human history, which was the beginning of the age of revolution in Europe, which swept away centuries of feudal bondage, that some theatricality was had! Not genuine enough for you as the idle, frivolous chatter of upper-class gentlemen is, eh?"
For Cioran, philistine contrarian for the sake of being contrarian, what is frivolous is true greatness, and world-historic events that changed the whole world are frivolous (of course, other people are too stupid to notice that, unlike our "genius" Mr. Cioran!). No aphorism in the book expresses this contrarian faux-superiority better than this:
"Montaigne, a sage, has had no posterity. Rousseau, an hysteric, still stirs nations. I like only the thinkers who have inspired no tribune of the people."
So, what about style?
Well, if what little I have posted here has not made it clear, Cioran is a hack writer par excellence. The only thing to be found here is dark Romantic clich茅s that were always bad writing and already considered hacky more than a century before this book was written. Not content to be stupid and philistine, Cioran's mind also seems to be ruled exclusively by the most tired clich茅s available in such literature, which makes reading the book a similar experience to trying to endure a teenager on discord venting to you for 5 hours straight in what he thinks is a "poetic" fashion but in what is in reality an embarrassing deluge of self-absorbed, narcissistic self-pity.
THE AMOUNT OF TIMES that Cioran just repeats the same stylistic format is just insane - per example, sentence that are just "To [do something]" and nothing else. Per example:
"To have committed every crime but that of being a father."
"To get up in the morning, wash and then wait for some unforeseen variety of dread or depression.
I would give the whole universe and all of Shakespeare for a grain of ataraxy."
"To walk along a stream, to pass, to flow with the water, without effort, without haste, while death continues in us its ruminations, its uninterrupted soliloquy鈥�"
"To claim you are more detached, more alien to everything than anyone, and to be merely a fanatic of indifference!"
Among many, many others.
Some people say "Yeah Cioran's philosophy is basically nothing but gloomy feelings and it isn't even consistent, it contradicts itself all the time, but his prose is pretty beautiful, he's a great stylist." With the explanation I have given above, I reply to that with a simple "Fuck you" because this is hack writing of the worst, most adolescent sort. This is hot garbage. This makes 50 Shades of Grey feel like Lolita. This is several magnitudes worse than a not inconsiderable percentage of fanfiction written by teenagers with no literary background whatsoever. It is so bad that, should someone defend it to me, no matter how good their opinions on literature normally are, how better they understand it than me, I would immediately think less of all their judgements in literature.
In conclusion, I will just repeat myself - Cioran does it nonstop in this book so I don't think any reader of his will mind :^) - and say that I am frankly embarrassed of ever having been into something like this. It is cringe of the worst sort, nothing but middle class aestheticism, moping, written in a puerile style that consists of nothing but braindead "dark" Romantic clich茅s, legitemiately some of the worst aphoristic styling I've ever seen and so easy to do that I did it as a teenager all the time.
This book is a complete and utter embarrassment, I would cringe to death if I published something that was so attached to my name as this is with Cioran's - however, it can never be even close to as embarrassing as the people that think that Cioran reached some "deep truth" here, or people that think his gloomy style is anything but shabby Romantic clich茅s that even ghost-writers for medieval-themed romance novels for teenage girls and shabby action thrillers for teenage boys would laugh at.
March 5, 2016
S膬 sim牛i singur膬tatea inconceptibilului neant: asta 卯nseamn膬 s膬 tr膬ie艧ti 卯n filosofia plin膬 de lirism a lui Cioran. *Amu... poate cineva, rogu-va, s膬 conceap膬 neantul?! Eu 卯l percep ca un gol universal, ceea ce constituie o antinomie, 卯n contextul 卯n care neantul e... nimic pur.*
S膬 ai, deci, nimbul acela cosmogonic atunci c芒nd cite艧ti r芒ndurile de un pesimism extrem(卯n compara牛ie cu piramida tratatelor filosofice) pe care Cioran le transpune. Filosofia "celui mai mare nihilist european" este -prin excelen牛膬!- de un tragism asumat con艧tient, fapt sus牛inut de aversiunea fa牛膬 de ra牛iune pe care Cioran o manifest膬: "Nu-i voi mai citi pe 卯n牛elep牛i! Mi-au f膬cut prea mult r膬u! Ar fi trebuit s膬 m膬 abandonez instinctelor, s膬-mi las nebunia s膬 卯nfloreasc膬. Am f膬cut exact contrariul, mi-am pus masca ra牛iunii, 艧i masca a ajuns s膬 se substituie fe牛ei 艧i s膬 uzurpe restul." (trimitere c膬tre imaterial).
Eu mereu am fost adeptul convingerii c膬 opera lui Cioran se particularizeaz膬 prin subiectivismul extrem. N-am g膬sit la el -de艧i m-am identificat, nu de pu牛ine ori, cu dansul- nici "at芒tica" obiectivism. Viziunea lui se substituie rela牛iei pe care A AVUT-O cu realitatea, iar aceasta are s膬 determine rela牛iile ulterioare care, de asemenea, cuprinse de subiectivism, nu au cum s膬 se 卯ntoarc膬 radical, ci -卯n cel mai r膬u caz- s膬 se afunde 卯n propriul abis. Particularitatea asta este ceea ce-l individualizeaz膬. N-am citit -e drept!- prea mult膬 filosofie existen牛ialist膬, 卯n schimb, 卯n maniera 卯n care am f膬cut-o, n-am mai 卯nt芒lnit 卯n cazul niciunui filosof viziunea subiectivismului pur. Totul pleac膬 -se 卯n牛elege- de la subiectivism. Platon a v膬zut Republica 卯n contextul epocii sale, Voltaire 卯n cadrul societ膬牛ii de factur膬 absolutist膬 a Fran牛ei s-a gandit: "Io-te! Iluminism!", dar ideile lor se bazau pe un impuls general din partea intelectualit膬牛ii societ膬牛ii din care f膬ceau parte (艧i 卯n cadrul c膬reia, f膬r膬 doar 艧i poate, erau figurile proeminente).
Nihil:
Cred c膬 este cea mai monumental膬 remarc膬 a volumului, nu f膬r膬 un dram de ironie 卯n ea (tragicomic): "Nu merit膬 osteneala s膬 te sinucizi, pentru c膬 oricum ar fi prea t芒rziu!"
"Este imposibil s膬 sim牛i c膬 a fost un timp c芒nd nu existai. De aici ata艧amentul pentru personajul care erai 卯nainte de a te fi n膬scut."
"脦ntotdeauna am c膬utat peisajele de dinainte de Dumnezeu. De aici 艧i sl膬biciunea mea pentru Haos."
"Fizionomia picturii, a poeziei, a muzicii, peste un secol? Nimeni nu 艧i-o poate 卯nchipui. Ca 艧i dup膬 c膬derea Atenei sau a Romei, va interveni o lung膬 pauz膬 din cauza epuiz膬rii mijloacelor de expresie, 艧i a con艧tiin牛ei 卯nse艧i."
"Pe m膬sur膬 ce arta se 卯nfund膬 卯n impas, se 卯nmul牛esc arti艧tii."
"Orice mizantrop, oric芒t de sincer ar fi, ne aminte艧te uneori de acel b膬tr芒n poet 牛intuit la pat 艧i uitat de toat膬 lumea, care, pornit 卯mpotriva contemporanilor s膬i, decretase c膬 nu mai vrea s膬 primeasc膬 pe nimeni. De mil膬, nevasta lui se ducea s膬 sune din c芒nd 卯n c芒nd la u艧a."
"Ce-ai p膬牛it, dar spune, ce-ai p膬牛it? - Nimic, nimic, am f膬cut doar o s膬ritur膬 卯n afar膬 soartei mele 艧i nu mai 艧tiu acum 卯ncotro s膬 m膬 卯ndrept, spre ce s膬 alerg..."
Andrei Tama艧,
4 martie 2016
S膬 ai, deci, nimbul acela cosmogonic atunci c芒nd cite艧ti r芒ndurile de un pesimism extrem(卯n compara牛ie cu piramida tratatelor filosofice) pe care Cioran le transpune. Filosofia "celui mai mare nihilist european" este -prin excelen牛膬!- de un tragism asumat con艧tient, fapt sus牛inut de aversiunea fa牛膬 de ra牛iune pe care Cioran o manifest膬: "Nu-i voi mai citi pe 卯n牛elep牛i! Mi-au f膬cut prea mult r膬u! Ar fi trebuit s膬 m膬 abandonez instinctelor, s膬-mi las nebunia s膬 卯nfloreasc膬. Am f膬cut exact contrariul, mi-am pus masca ra牛iunii, 艧i masca a ajuns s膬 se substituie fe牛ei 艧i s膬 uzurpe restul." (trimitere c膬tre imaterial).
Eu mereu am fost adeptul convingerii c膬 opera lui Cioran se particularizeaz膬 prin subiectivismul extrem. N-am g膬sit la el -de艧i m-am identificat, nu de pu牛ine ori, cu dansul- nici "at芒tica" obiectivism. Viziunea lui se substituie rela牛iei pe care A AVUT-O cu realitatea, iar aceasta are s膬 determine rela牛iile ulterioare care, de asemenea, cuprinse de subiectivism, nu au cum s膬 se 卯ntoarc膬 radical, ci -卯n cel mai r膬u caz- s膬 se afunde 卯n propriul abis. Particularitatea asta este ceea ce-l individualizeaz膬. N-am citit -e drept!- prea mult膬 filosofie existen牛ialist膬, 卯n schimb, 卯n maniera 卯n care am f膬cut-o, n-am mai 卯nt芒lnit 卯n cazul niciunui filosof viziunea subiectivismului pur. Totul pleac膬 -se 卯n牛elege- de la subiectivism. Platon a v膬zut Republica 卯n contextul epocii sale, Voltaire 卯n cadrul societ膬牛ii de factur膬 absolutist膬 a Fran牛ei s-a gandit: "Io-te! Iluminism!", dar ideile lor se bazau pe un impuls general din partea intelectualit膬牛ii societ膬牛ii din care f膬ceau parte (艧i 卯n cadrul c膬reia, f膬r膬 doar 艧i poate, erau figurile proeminente).
Nihil:
Cred c膬 este cea mai monumental膬 remarc膬 a volumului, nu f膬r膬 un dram de ironie 卯n ea (tragicomic): "Nu merit膬 osteneala s膬 te sinucizi, pentru c膬 oricum ar fi prea t芒rziu!"
"Este imposibil s膬 sim牛i c膬 a fost un timp c芒nd nu existai. De aici ata艧amentul pentru personajul care erai 卯nainte de a te fi n膬scut."
"脦ntotdeauna am c膬utat peisajele de dinainte de Dumnezeu. De aici 艧i sl膬biciunea mea pentru Haos."
"Fizionomia picturii, a poeziei, a muzicii, peste un secol? Nimeni nu 艧i-o poate 卯nchipui. Ca 艧i dup膬 c膬derea Atenei sau a Romei, va interveni o lung膬 pauz膬 din cauza epuiz膬rii mijloacelor de expresie, 艧i a con艧tiin牛ei 卯nse艧i."
"Pe m膬sur膬 ce arta se 卯nfund膬 卯n impas, se 卯nmul牛esc arti艧tii."
"Orice mizantrop, oric芒t de sincer ar fi, ne aminte艧te uneori de acel b膬tr芒n poet 牛intuit la pat 艧i uitat de toat膬 lumea, care, pornit 卯mpotriva contemporanilor s膬i, decretase c膬 nu mai vrea s膬 primeasc膬 pe nimeni. De mil膬, nevasta lui se ducea s膬 sune din c芒nd 卯n c芒nd la u艧a."
"Ce-ai p膬牛it, dar spune, ce-ai p膬牛it? - Nimic, nimic, am f膬cut doar o s膬ritur膬 卯n afar膬 soartei mele 艧i nu mai 艧tiu acum 卯ncotro s膬 m膬 卯ndrept, spre ce s膬 alerg..."
Andrei Tama艧,
4 martie 2016
March 23, 2020
That faint light in each of us which dates back to before our birth, to before all births, is what must be protected if we want to rejoin that remote glory from which we shall never know why we are separated. [157]Originally published in 1973 when E. M. Cioran was 62 years old, the book is divided into 12 sections. Much of the content is presented in an aphoristic form, although Cioran intersperses other types of entries throughout, to include anecdotes, personal notes, and diatribes. Cioran considered himself near or at the end of his career as he was writing the book (per one of the entries). So, if you鈥檙e going to read one of his books perhaps this is the best one to read, as it contains his reflections over a lifetime of work, observations, and ruminations.
Now to the underlying theme of the book. A significant part of the problem with being born is that we鈥檙e not given the choice to opt out. If asked, certainly some of us would have said no. And yet here we are. So what to do about it. If one is a truth-seeker, one can take a degree of comfort in the fact that Cioran has read all the old 鈥榮ages鈥� and found no so-called 鈥榯ruth鈥� to set him free. Cioran himself makes no claim to being a wise man or sage. As he wrote this book, he was merely an intelligent older man who had managed to clear away many of life鈥檚 distractions. Think of his process as making notes while sitting in a metal folding chair at one end of an uncluttered hallway of indeterminate length, at the other end of which crouches his death somewhere in the shadows. Because the fact is that when one does manage to clear away life鈥檚 distractions (e.g., desire, ambition, religious faith, relationships, art, etc.), what one is left facing is the inevitability of one鈥檚 own death. There it stands in all of its stark clarity. A logical step at this point would be to simply take one鈥檚 own life, and yet this is tricky to pull off when in a balanced, analytical state of mind. Human beings have this tendency toward self-preservation, and it persists even as we age and observe our own bodies slowly deteriorate in preparation for the final act. So what are we supposed to do while waiting around. Who knows. This book certainly won鈥檛 provide answers, nor will any other book. Perhaps the best thing to do is to help others who are about to die. Be with them, make them comfortable, as they prepare to return to where they were before they were born, i.e., 鈥榯hat remote glory from which we shall never know why we are separated鈥�.
This is not a depressing book. Even at its most pessimistic, Cioran鈥檚 writing holds charm. He maintains a level of intimacy throughout, lacing his observations with wit and humor (typically of the dark, biting variety). If your outlook is already of a certain disposition akin to Cioran鈥檚, this book will offer affirmation. But if your pessimism doesn鈥檛 require affirmation (and really, why should it), then you鈥檙e probably better off just taking a walk.
Walking in a forest between two hedges of ferns transfigured by autumn鈥攖hat is a triumph. What are ovations and applause beside it?
May 30, 2008
"When every man has realized that his birth is a defeat, existence, endurable at last, will seem like the day after a surrender, like the relief and the repose of the conquered."
The Trouble With Being Born is a collection of aphorisms mostly about (but not limited to) the horrors unleashed on us by birth. Cioran argues that perhaps existence is exile and oblivion itself is salvation.
However, Cioran's wit and (dare I say) charm prevent this book from becoming what would otherwise be an overwhelmingly crushing read. The compact and concise form of the aphorism fits well with his philosophy; since a minimalist, ascetic lifestyle seems to be the only way to peel back the layers of existence in order to uncover the Truth, long, involved treatises are highly unnecessary.
The Trouble With Being Born is a highly readable reflection on the meaninglessness of existence, a concentrated dose of pessimism that nudges the curious in the direction of simultaneous salvation and damnation all at once.
"Explosive force of any mortification. Every vanquished desire affords us power. We have the more hold over this world the further we withdraw from it, the less we adhere to it. Renunciation confers an infinite power."
The Trouble With Being Born is a collection of aphorisms mostly about (but not limited to) the horrors unleashed on us by birth. Cioran argues that perhaps existence is exile and oblivion itself is salvation.
However, Cioran's wit and (dare I say) charm prevent this book from becoming what would otherwise be an overwhelmingly crushing read. The compact and concise form of the aphorism fits well with his philosophy; since a minimalist, ascetic lifestyle seems to be the only way to peel back the layers of existence in order to uncover the Truth, long, involved treatises are highly unnecessary.
The Trouble With Being Born is a highly readable reflection on the meaninglessness of existence, a concentrated dose of pessimism that nudges the curious in the direction of simultaneous salvation and damnation all at once.
"Explosive force of any mortification. Every vanquished desire affords us power. We have the more hold over this world the further we withdraw from it, the less we adhere to it. Renunciation confers an infinite power."
June 8, 2013
The king of despair? No, actually he's very funny and witty in his own way. This collection of aphorisms are single bite-fulls of wit, smartness, and for me a sense of beauty or understanding of the world out there. In his point of view it is not facing death that's the problem, but the fact one is born in this world -well, that's the problem.
For me this is the ultimate book to read before a nap or outside on the patio - watching trees sway or traffic go by and then reading bits and pieces of "The Trouble with Being Born," well, its paradise of sorts.
For me this is the ultimate book to read before a nap or outside on the patio - watching trees sway or traffic go by and then reading bits and pieces of "The Trouble with Being Born," well, its paradise of sorts.
March 11, 2018
Bildi臒imiz Cioran hislenmeleri. E臒er bu okudu臒um sonuncu kitab谋 olmasayd谋 ba艧ka kitab谋n谋 okumayabilirdim. Ger莽ekten ya ben Cioran'谋n neye nas谋l tepki verece臒ine fazlas谋yla ko艧ulland谋m, c眉mlenin sonunda ne gelece臒ini biliyorum ya da ger莽ekten 3 kitab谋yla t眉m derdini zaten anlatm谋艧 ve ondan sonraki yazd谋klar谋yla tekrara d眉艧m眉艧 diyebilirim.
Kitab谋n i莽eri臒iyle ilgili s枚yleyebileceklerim ise 脰l眉m, Do臒um gibi temalar 眉zerinden ya艧amla direkt ba臒 kurman谋n veye kuramaman谋n incelikli dertlenmeleri ve keskin s枚ylemleri yer almakta.
Zamanla ve Sanatla al芒kal谋 alt谋n谋 莽izdi臒im bir 莽ok yer de mevcut.
厂谋谤补蝉谋测濒补, Burukluk, Tarih ve 脺topya, 脟眉r眉menin Kitab谋, ezeli Ma臒lup, Var Olma E臒ilimi, G枚zya艧lar谋 ve Azizler ve Do臒mu艧 Olman谋n Sak谋ncas谋 脺st眉ne okudu臒um kitaplar谋yd谋.
Burukluk ger莽ekten Cioran'谋n kafas谋n谋n i莽erisindeki keskinli臒i tam olarak anlatt谋臒谋 眉st d眉zey bir kitapt谋.
脟眉r眉menin Kitab谋nda yine Felsefeye ve d眉nyaya dair g枚zlemlerini 莽ok iyi harmanlad谋臒谋n谋 d眉艧眉nmekteyim.
Tarih ve 脺topya'da Cioran'谋n d枚nemsel bak谋艧 a莽谋s谋n谋 枚zellikke Fransaya ve Romanyaya kar艧谋 neler hisseti臒inde dair tarihsel bir s眉re莽te de臒erlendirmeleri yer almaktayd谋.
Ezeli Ma臒lup kitab谋nda ise ondan 枚nce okudu臒unuz ve Cioran'谋n e臒itiminden hayat谋na, aile yap谋s谋na kadar inan谋艧lar谋n谋 da ! kapsayan 莽ok pencereli bir s枚yle艧i mevcut.
Cioran'谋 tan谋m谋艧 olman谋n okuma s眉recimde beni 莽ok etkiledi臒ini d眉艧眉n眉yorum. Bana farkl谋 bak谋艧 a莽谋lar谋 ve tersten d眉艧眉nebilmeyi bir kere daha g枚sterdi. Olumsuzdan olumlu 莽谋karabilme g眉c眉 veya olumsuzu oldu臒u gibi kabul etmenin erdemi 眉zerine kurdu臒u binlerce c眉mleyi san谋r谋m uzun y谋llar d眉艧眉nece臒im.
厂补测驳谋濒补谤
Kitab谋n i莽eri臒iyle ilgili s枚yleyebileceklerim ise 脰l眉m, Do臒um gibi temalar 眉zerinden ya艧amla direkt ba臒 kurman谋n veye kuramaman谋n incelikli dertlenmeleri ve keskin s枚ylemleri yer almakta.
Zamanla ve Sanatla al芒kal谋 alt谋n谋 莽izdi臒im bir 莽ok yer de mevcut.
厂谋谤补蝉谋测濒补, Burukluk, Tarih ve 脺topya, 脟眉r眉menin Kitab谋, ezeli Ma臒lup, Var Olma E臒ilimi, G枚zya艧lar谋 ve Azizler ve Do臒mu艧 Olman谋n Sak谋ncas谋 脺st眉ne okudu臒um kitaplar谋yd谋.
Burukluk ger莽ekten Cioran'谋n kafas谋n谋n i莽erisindeki keskinli臒i tam olarak anlatt谋臒谋 眉st d眉zey bir kitapt谋.
脟眉r眉menin Kitab谋nda yine Felsefeye ve d眉nyaya dair g枚zlemlerini 莽ok iyi harmanlad谋臒谋n谋 d眉艧眉nmekteyim.
Tarih ve 脺topya'da Cioran'谋n d枚nemsel bak谋艧 a莽谋s谋n谋 枚zellikke Fransaya ve Romanyaya kar艧谋 neler hisseti臒inde dair tarihsel bir s眉re莽te de臒erlendirmeleri yer almaktayd谋.
Ezeli Ma臒lup kitab谋nda ise ondan 枚nce okudu臒unuz ve Cioran'谋n e臒itiminden hayat谋na, aile yap谋s谋na kadar inan谋艧lar谋n谋 da ! kapsayan 莽ok pencereli bir s枚yle艧i mevcut.
Cioran'谋 tan谋m谋艧 olman谋n okuma s眉recimde beni 莽ok etkiledi臒ini d眉艧眉n眉yorum. Bana farkl谋 bak谋艧 a莽谋lar谋 ve tersten d眉艧眉nebilmeyi bir kere daha g枚sterdi. Olumsuzdan olumlu 莽谋karabilme g眉c眉 veya olumsuzu oldu臒u gibi kabul etmenin erdemi 眉zerine kurdu臒u binlerce c眉mleyi san谋r谋m uzun y谋llar d眉艧眉nece臒im.
厂补测驳谋濒补谤
June 18, 2024
丕蹖賳 讴鬲丕亘 乇賵 丕爻鬲丕丿 賮賱爻賮賴鈥屬呝堎� 鬲乇噩賲賴 讴乇丿賴 賵 丕夭 丕賵賳 胤乇蹖賯 亘丕 趩賵乇丕賳 丌卮賳丕 卮丿賲 賵 亘爻蹖 禺賵卮丨丕賱賲. 禺蹖賱蹖蹖蹖 賯卮賳诏 亘賱丿賴 賴賲賴 趩蹖夭 丕賳爻丕賳 亘賵丿賳 乇賵 鬲賵 讴賱賲丕鬲 噩丕 亘丿賴. 卮賵倬賳賴丕賵乇賽 賯乇賳 亘蹖爻鬲賲. 丕賳诏丕乇 賵賯鬲蹖 賲賳 亘丿亘蹖賳丕賳賴 鬲乇蹖賳 讴鬲丕亘鈥屬囏� 賵 賮賱丕爻賮賴 乇賵 賲蹖禺賵賳賲 亘丿鬲乇 亘賴 賲蹖賱賲 亘賴 夭賳丿诏蹖 丕囟丕賮賴 賲蹖卮賴. 趩賵賳 丕賳诏丕乇 賮賯胤 賳蹖丕夭 丿丕乇賲 蹖讴蹖 亘賮賴賲賴貙 乇賳噩 賴丕乇賵 賵 倬賵趩 亘賵丿賳 夭賳丿诏蹖 乇賵 賵 丿乇丿爻乇 賲鬲賵賱丿 卮丿賳 乇賵貙 賵 亘毓丿 丿乇爻鬲 賲孬賱 趩賵乇丕賳 賴賲趩賳丕賳 丕丿丕賲賴 亘丿賴 賵 亘賴 賯賵賱 禺賵丿卮 丕夭 乇賵蹖 "讴賳噩讴丕賵蹖" 倬蹖 夭賳丿诏蹖 乇賵 亘诏蹖乇賴. 亘賴 賴賲蹖賳 爻丕丿诏蹖 賵 賯卮賳诏蹖.
禺賵丿賲 蹖讴蹖 丕夭 賴賲賵賳丕蹖蹖鈥屫з� 讴賴 賴賲蹖卮賴 丕賵賳 賯爻賲鬲 丌賴賳诏 讴賵蹖蹖賳 乇賵
I don't wanna die
But sometimes wish i never been born at all
賴賲蹖卮賴 亘賱賳丿 鬲乇 丕夭 賯爻賲鬲丕蹖 丿蹖诏賴 賲蹖禺賵賳賲. 丕賲丕 亘丕夭 賴賲 丿乇 賳賴丕蹖鬲 锟斤拷蹖诏賲 丌禺蹖卮貙 趩賴 禺賵亘 讴賴 噩夭賵蹖 丕夭 丕蹖賳 噩賴丕賳 卮丿賲 賵 爻丕賱賲賲 賵 賴乇乇賵夭 蹖賴 夭賳丿诏蹖 丿丕乇賲 亘乇丕蹖 禺賵丿賲. 卮丕蹖丿 亘丕賵乇鬲賵賳 賳卮賴 賵賱蹖 亘乇丕蹖 丌丿賲丕蹖 丕噩鬲賲丕毓蹖 賵 賲孬亘鬲 賵 丕賲蹖丿賵丕乇蹖 賲孬賱 賲賳 丕蹖賳 讴鬲丕亘賴丕蹖 賲賳賮蹖 賵 夭賴乇賲丕乇 亘蹖卮鬲乇 賲蹖趩爻亘賴 趩賵賳 丕賵賳 丕賲蹖丿賽 亘賴鬲乇 讴乇丿賳賽 賴賲賴 趩蹖夭 丕夭 蹖賴 賲賳噩賱丕亘 爻蹖丕賴 賵 賯蹖乇賲丕賳賳丿 鬲賵 夭賳丿诏蹖 卮禺氐蹖賲賵賳 賲蹖丕丿 賵 鬲賵 鬲丕 賵賯鬲蹖 噩賵賵賳蹖 賮讴乇 賲蹖讴賳蹖 賲蹖鬲賵賳蹖 夭賳噩蹖乇 賲賳賮蹖 賵 爻蹖丕賴 禺丕賳賵丕丿鬲賵 亘卮讴賵賳蹖 賵 賲賳 賲蹖禺賵丕賲 鬲丕 噩賵賵賳賲 讴丕乇蹖賵 讴賳賲 讴賴 賲蹖丿賵賳賲 鬲丕 爻賴 趩賴丕乇 噩丿賽 賯亘賱 禺賵丿賲 賳讴乇丿賴 賵 丕賵賳 夭賳丿诏蹖賴. 亘賳丕亘乇丕蹖賳 亘賱賴 丌賯丕蹖 趩賵乇丕賳貙 禺蹖賱蹖 亘丕賴丕鬲賵賳 賲賵丕賮賯賲貙 亘丕 鬲讴 鬲讴 噩賲賱丕鬲 丕蹖賳 讴鬲丕亘 卮丕賴讴丕乇貙 丕賲丕 賮乇賯 賲賳 賵 卮賲丕 丕蹖賳賴 讴賴 丕夭 丕蹖賳 倬賵趩蹖 賵 爻蹖丕賴蹖 賳賵乇賴丕蹖蹖 亘蹖乇賵賳 賲蹖讴卮賲 讴賴 賴乇乇賵夭賴 賳噩丕鬲賲 賲蹖丿賴 賵 賴乇乇賵夭 亘賴 蹖丕丿賲 賲蹖丕乇賴 讴賴 賲鬲賵賱丿 卮丿賳 丕賵賳賯丿乇賲 趩蹖夭 亘丿蹖 賳亘賵丿賴.
賮讴乇 讴賳賲 讴賱 夭賳丿诏蹖 賴賲蹖賳賴.
亘賴 丿乇讴 讴賴 亘賴 丿賳蹖丕 丕賵賲丿蹖賲貙
亘賴 丿乇讴 讴賴 賲丿丕賲 亘蹖卮鬲乇 丕夭 卮丕丿蹖 乇賳噩 賲蹖讴卮蹖賲貙
亘賴 丿乇讴 讴賴 蹖賴 乇賵夭蹖 讴爻丕蹖蹖 讴賴 丿賵爻鬲卮賵賳 丿丕乇蹖賲 賲蹖賲蹖乇賳貙
亘賴 丿乇讴 讴賴 賴乇賱丨馗賴 賲賲讴賳賴 亘賲蹖乇蹖賲貙
賲賳 丕賲乇賵夭 乇賵 丿丕乇賲 賵 丕賲乇賵夭 賴賵丕 禺蹖賱蹖 禺賵亘賴.
禺賵丿賲 蹖讴蹖 丕夭 賴賲賵賳丕蹖蹖鈥屫з� 讴賴 賴賲蹖卮賴 丕賵賳 賯爻賲鬲 丌賴賳诏 讴賵蹖蹖賳 乇賵
I don't wanna die
But sometimes wish i never been born at all
賴賲蹖卮賴 亘賱賳丿 鬲乇 丕夭 賯爻賲鬲丕蹖 丿蹖诏賴 賲蹖禺賵賳賲. 丕賲丕 亘丕夭 賴賲 丿乇 賳賴丕蹖鬲 锟斤拷蹖诏賲 丌禺蹖卮貙 趩賴 禺賵亘 讴賴 噩夭賵蹖 丕夭 丕蹖賳 噩賴丕賳 卮丿賲 賵 爻丕賱賲賲 賵 賴乇乇賵夭 蹖賴 夭賳丿诏蹖 丿丕乇賲 亘乇丕蹖 禺賵丿賲. 卮丕蹖丿 亘丕賵乇鬲賵賳 賳卮賴 賵賱蹖 亘乇丕蹖 丌丿賲丕蹖 丕噩鬲賲丕毓蹖 賵 賲孬亘鬲 賵 丕賲蹖丿賵丕乇蹖 賲孬賱 賲賳 丕蹖賳 讴鬲丕亘賴丕蹖 賲賳賮蹖 賵 夭賴乇賲丕乇 亘蹖卮鬲乇 賲蹖趩爻亘賴 趩賵賳 丕賵賳 丕賲蹖丿賽 亘賴鬲乇 讴乇丿賳賽 賴賲賴 趩蹖夭 丕夭 蹖賴 賲賳噩賱丕亘 爻蹖丕賴 賵 賯蹖乇賲丕賳賳丿 鬲賵 夭賳丿诏蹖 卮禺氐蹖賲賵賳 賲蹖丕丿 賵 鬲賵 鬲丕 賵賯鬲蹖 噩賵賵賳蹖 賮讴乇 賲蹖讴賳蹖 賲蹖鬲賵賳蹖 夭賳噩蹖乇 賲賳賮蹖 賵 爻蹖丕賴 禺丕賳賵丕丿鬲賵 亘卮讴賵賳蹖 賵 賲賳 賲蹖禺賵丕賲 鬲丕 噩賵賵賳賲 讴丕乇蹖賵 讴賳賲 讴賴 賲蹖丿賵賳賲 鬲丕 爻賴 趩賴丕乇 噩丿賽 賯亘賱 禺賵丿賲 賳讴乇丿賴 賵 丕賵賳 夭賳丿诏蹖賴. 亘賳丕亘乇丕蹖賳 亘賱賴 丌賯丕蹖 趩賵乇丕賳貙 禺蹖賱蹖 亘丕賴丕鬲賵賳 賲賵丕賮賯賲貙 亘丕 鬲讴 鬲讴 噩賲賱丕鬲 丕蹖賳 讴鬲丕亘 卮丕賴讴丕乇貙 丕賲丕 賮乇賯 賲賳 賵 卮賲丕 丕蹖賳賴 讴賴 丕夭 丕蹖賳 倬賵趩蹖 賵 爻蹖丕賴蹖 賳賵乇賴丕蹖蹖 亘蹖乇賵賳 賲蹖讴卮賲 讴賴 賴乇乇賵夭賴 賳噩丕鬲賲 賲蹖丿賴 賵 賴乇乇賵夭 亘賴 蹖丕丿賲 賲蹖丕乇賴 讴賴 賲鬲賵賱丿 卮丿賳 丕賵賳賯丿乇賲 趩蹖夭 亘丿蹖 賳亘賵丿賴.
賮讴乇 讴賳賲 讴賱 夭賳丿诏蹖 賴賲蹖賳賴.
亘賴 丿乇讴 讴賴 亘賴 丿賳蹖丕 丕賵賲丿蹖賲貙
亘賴 丿乇讴 讴賴 賲丿丕賲 亘蹖卮鬲乇 丕夭 卮丕丿蹖 乇賳噩 賲蹖讴卮蹖賲貙
亘賴 丿乇讴 讴賴 蹖賴 乇賵夭蹖 讴爻丕蹖蹖 讴賴 丿賵爻鬲卮賵賳 丿丕乇蹖賲 賲蹖賲蹖乇賳貙
亘賴 丿乇讴 讴賴 賴乇賱丨馗賴 賲賲讴賳賴 亘賲蹖乇蹖賲貙
賲賳 丕賲乇賵夭 乇賵 丿丕乇賲 賵 丕賲乇賵夭 賴賵丕 禺蹖賱蹖 禺賵亘賴.
June 27, 2021
It is a dark, rainy night: one of those nights. To find something to best suit this atmosphere, I open this book, which I鈥檝e been meaning to read for a while. I lie down in bed, and play the perfect companion for this reading session: Chopin鈥檚 Preludes and Nocturnes. Here, I have successfully fetishised melancholia. But to understand and appreciate Cioran, the reader needs to occupy this very atmosphere: an aesthetic fetishism of melancholy.
I open the book to the tune of Chopin鈥檚 haunting Nocturne No. 1, and face the equally terrifying realisation that I am reading someone鈥檚 diary: someone who writes thoughts that I have thought before, thoughts that I abortively considered but never properly grappled with, and thoughts that I know I will think in the future. This book is a collection of depressive epigrams that would appear comical to a reader in daylight, in work, seeking 鈥渓earnings鈥� from their self-improving hobby of reading. But lie down in bed at night with this, only on one of those nights you recognise and have lived through before, and you will find a replenishing balm for the tormented soul, a friend who understands those nights more than you ever will.
Chopin's music is alternately slow and soothing, and fast and maddening. Much the same for Cioran, whose epigrams can range from one-liners that make me question entire ways of thinking, to pointless opinions on things he has read. Somewhere, I get lost in his writing and in Chopin鈥檚 music. I encounter familiar ideas of antinatalism, efilism, idealism, pessimism, and all the other isms on which I occasionally construct self-identity. But I also encounter the unfamiliar, the dream, and the partly-familiar three types of thought mentioned above.
The music stops. I listened to Chopin for nearly three hours. I read this book, transfixed over my laptop, like a madman. It has stopped raining, and it is now the time where we magically lie down and descend into nonexistence every night. But really, the night is already over: it's no longer one of those nights. My reading is incomplete: I only finished three-fourths of this book. I will probably finish the remaining quarter tomorrow morning. But it won鈥檛 be the same, because the night is over.
I open the book to the tune of Chopin鈥檚 haunting Nocturne No. 1, and face the equally terrifying realisation that I am reading someone鈥檚 diary: someone who writes thoughts that I have thought before, thoughts that I abortively considered but never properly grappled with, and thoughts that I know I will think in the future. This book is a collection of depressive epigrams that would appear comical to a reader in daylight, in work, seeking 鈥渓earnings鈥� from their self-improving hobby of reading. But lie down in bed at night with this, only on one of those nights you recognise and have lived through before, and you will find a replenishing balm for the tormented soul, a friend who understands those nights more than you ever will.
Chopin's music is alternately slow and soothing, and fast and maddening. Much the same for Cioran, whose epigrams can range from one-liners that make me question entire ways of thinking, to pointless opinions on things he has read. Somewhere, I get lost in his writing and in Chopin鈥檚 music. I encounter familiar ideas of antinatalism, efilism, idealism, pessimism, and all the other isms on which I occasionally construct self-identity. But I also encounter the unfamiliar, the dream, and the partly-familiar three types of thought mentioned above.
The music stops. I listened to Chopin for nearly three hours. I read this book, transfixed over my laptop, like a madman. It has stopped raining, and it is now the time where we magically lie down and descend into nonexistence every night. But really, the night is already over: it's no longer one of those nights. My reading is incomplete: I only finished three-fourths of this book. I will probably finish the remaining quarter tomorrow morning. But it won鈥檛 be the same, because the night is over.
May 10, 2023
賲丕貙 蹖丕 丨丿丕賯賱 亘爻蹖丕乇蹖 丕夭 賲丕貙 亘乇丕蹖 讴丕乇蹖 讴乇丿賳 夭賳丿诏蹖 賲蹖 讴賳蹖賲. 亘賴 丿賳亘丕賱 夭賳丿诏蹖 丕蹖 賴爻鬲蹖賲 讴賴 孬賲乇賴 丕蹖 丿丕卮鬲賴 亘丕卮丿貙 賲蹖賵賴 丕蹖 賵 賳鬲蹖噩賴 丕蹖. 亘丕胤賱 丕賱爻丨乇蹖 亘乇丕蹖 丕賵賱蹖賳 賳賮乇蹖賳蹖 讴賴 丿丕睾卮 亘乇 倬蹖卮丕賳蹖賲丕賳 禺賵乇丿賴. 賳賮乇蹖賳 鬲賵賱丿. 丕賲丕 趩賵乇丕賳 丕夭 亘賱賳丿蹖 亘賴 賴賲賴 趩蹖夭 賳诏丕賴 賲蹖 讴賳丿 賵 丕蹖賳 讴丕乇 亘賴 丕賵 亘氐蹖乇鬲蹖 亘禺卮蹖丿賴 鬲丕 丿乇蹖丕亘丿 賴乇 趩賴 丿乇 丕蹖賳 噩賴丕賳 丕爻鬲 賲賯氐丿蹖 亘賴 噩夭 賮乇賵倬丕卮蹖 賳丿丕乇丿. 鬲賲丕賲 鬲賱丕卮 賴丕蹖賲丕賳貙 丿爻鬲 丌賵乇丿賴丕蹖賲丕賳貙 孬賲乇賴 賵 賳鬲丕蹖噩 夭賳丿诏蹖 賴丕蹖賲丕賳貙 乇賵夭蹖 賮乇丕賲賵卮 禺賵丕賴賳丿 卮丿. 賴賲丕賳胤賵乇 讴賴 賲丕 乇賵夭蹖 賮乇丕賲賵卮 禺賵丕賴蹖賲 卮丿 诏賵蹖蹖 讴賴 賴蹖趩鈥屭з� 賵噩賵丿 賳丿丕卮鬲蹖賲.
亘乇丕蹖 趩賵乇丕賳貙 夭賳蹖 亘丕乇丿丕乇貙 丨丕賲賱 噩爻丿蹖 亘蹖卮 賳蹖爻鬲. 丕賲丕 夭賲丕賳 亘丕 賮丕氐賱賴 丕賳丿丕禺鬲賳 賲蹖丕賳 鬲賵賱丿 賵 賳賯胤賴 丕蹖 讴賴 丿乇 丌賳 夭賳丿诏蹖 鬲賲丕賲 賯爻胤 賴丕蹖卮 乇丕 亘賴 賲乇诏 倬乇丿丕禺鬲賴 亘賴 丕蹖賳 鬲賵賴賲 丿丕賲賳 賲蹖 夭賳丿 讴賴 丕蹖賳 噩賴丕賳 丕乇夭卮 夭蹖爻鬲賳 丿丕乇丿. 讴賴 賲蹖 鬲賵丕賳 亘丕 賳丕亘賵丿蹖 賵 賮乇丕賲賵卮蹖 賵 亘蹖 賲毓賳丕蹖蹖 丌賳 讴賳丕乇 丌賲丿.
丿乇 賳賴丕蹖鬲貙 賲乇诏 倬丕丿丕卮蹖 丕爻鬲 亘賴 讴爻丕賳蹖 讴賴 丕爻鬲毓丿丕丿卮丕賳 賴蹖趩 讴丕乇蹖 賳讴乇丿賳 亘賵丿. 讴爻丕賳蹖 讴賴 讴賳丕乇賴 诏蹖乇蹖 乇丕 丕賳鬲禺丕亘 讴乇丿賳丿 賵 丿賵乇蹖 丕夭 賴蹖丕賴賵蹖 丿爻鬲 丌賵乇丿蹖 丿丕卮鬲賳 丿乇 賳丕亘賵丿蹖 丕蹖 讴賴 夭賳丿诏蹖 丕卮 賲蹖 禺賵丕賳蹖賲. 賵 丿乇 賳賴丕蹖鬲 賲乇诏貙 趩賴 丕賳讴丕乇蹖 禺賵丕賴丿 亘賵丿 亘乇丕蹖 丌賳 賴丕蹖蹖 讴賴 噩夭 亘乇丕蹖 賲賵賮賯蹖鬲 讴丕乇 賳讴乇丿賳丿...趩賴 爻蹖賱蹖 賲丨讴賲蹖 亘乇 氐賵乇鬲!
亘乇丕蹖 趩賵乇丕賳貙 夭賳蹖 亘丕乇丿丕乇貙 丨丕賲賱 噩爻丿蹖 亘蹖卮 賳蹖爻鬲. 丕賲丕 夭賲丕賳 亘丕 賮丕氐賱賴 丕賳丿丕禺鬲賳 賲蹖丕賳 鬲賵賱丿 賵 賳賯胤賴 丕蹖 讴賴 丿乇 丌賳 夭賳丿诏蹖 鬲賲丕賲 賯爻胤 賴丕蹖卮 乇丕 亘賴 賲乇诏 倬乇丿丕禺鬲賴 亘賴 丕蹖賳 鬲賵賴賲 丿丕賲賳 賲蹖 夭賳丿 讴賴 丕蹖賳 噩賴丕賳 丕乇夭卮 夭蹖爻鬲賳 丿丕乇丿. 讴賴 賲蹖 鬲賵丕賳 亘丕 賳丕亘賵丿蹖 賵 賮乇丕賲賵卮蹖 賵 亘蹖 賲毓賳丕蹖蹖 丌賳 讴賳丕乇 丌賲丿.
丿乇 賳賴丕蹖鬲貙 賲乇诏 倬丕丿丕卮蹖 丕爻鬲 亘賴 讴爻丕賳蹖 讴賴 丕爻鬲毓丿丕丿卮丕賳 賴蹖趩 讴丕乇蹖 賳讴乇丿賳 亘賵丿. 讴爻丕賳蹖 讴賴 讴賳丕乇賴 诏蹖乇蹖 乇丕 丕賳鬲禺丕亘 讴乇丿賳丿 賵 丿賵乇蹖 丕夭 賴蹖丕賴賵蹖 丿爻鬲 丌賵乇丿蹖 丿丕卮鬲賳 丿乇 賳丕亘賵丿蹖 丕蹖 讴賴 夭賳丿诏蹖 丕卮 賲蹖 禺賵丕賳蹖賲. 賵 丿乇 賳賴丕蹖鬲 賲乇诏貙 趩賴 丕賳讴丕乇蹖 禺賵丕賴丿 亘賵丿 亘乇丕蹖 丌賳 賴丕蹖蹖 讴賴 噩夭 亘乇丕蹖 賲賵賮賯蹖鬲 讴丕乇 賳讴乇丿賳丿...趩賴 爻蹖賱蹖 賲丨讴賲蹖 亘乇 氐賵乇鬲!
February 9, 2020
丕賱賷賵賲 !
賵兀賳丕 兀睾賱賯 丕賱氐賮丨賴 丕賱丕禺賷乇賴 賲賳 "賲孬丕賱亘 丕賱賵賱丕丿賴"
賰丕賳 賴賳丕賰 囟噩賷噩 賲丕 賷毓賱賵 亘丿丕禺賱賷 !!
氐賵鬲 丕乇鬲胤丕賲 丿賵賷 賷氐丿丨 賮賷 胤賷 氐丿乇賷 !!
卮毓賵乇 賮乇丕睾 鬲爻乇亘 丕賱賶 毓丕賱賲賷 !
賵賰兀賳賷 賮賷 賱丨馗賴 賮購乇丕賯 毓夭賷夭 兀噩亘乇鬲賳賷 丕賱馗乇賵賮 毓賱賶 賮乇丕賯賴 !
賳毓賲 !
賮賱賱賮乇丕賯 兀氐賵丕鬲 賰賱 賲丕 夭丕丿鬲 丕賱賲爻丕賮賴 禺賮鬲鬲 亘賴丕 賯賵賴 丕賱氐賵鬲 !
賮賴賱 爻賲毓 兀丨丿賰賲 賲賳 賯亘賱 賳丨賷亘 丕賱賯賱亘 賵賴賵 賷鬲兀賱賲 賱賮乇丕賯 賰鬲丕亘 責責
賵賴賱 賳丕丿鬲 毓賱賷賰賲 兀賵乇丕賯 丕賱賰鬲亘 賷賵賲丕 賵兀賳鬲賲 鬲丿賷乇賵賳 賱賴丕 馗賴賵乇賰賲 賲賵丿毓賷賳責
賴賱 爻賲毓鬲賲 氐賵鬲 亘賰丕卅賴丕責 賵賱賲丨鬲賲 丕賱睾賱丕賮 賷賱賵丨 賱賰賲 賲賵丿毓 丨鬲賶 賷賰丕丿 丕賳 賷氐乇禺 (鬲匕賰乇賳賷 賱賱兀亘丿)責
賴賱 禺購賷賱 廿賱賷賰賲 丕賳 乇賵丨 賲丕 鬲購亘孬 賮賷 丕賱賰鬲丕亘 賵鬲賳馗乇 廿賱賷賰賲 亘丨夭賳 賲丐賱賲 責
賱丕鬲爻鬲睾乇亘賵丕 賲賳 賴匕賷丕賳賷 賴匕丕 !
賮亘毓囟 丕賱賰鬲亘 鬲鬲丨賵賱 毓賳丿 丕賱乇丨賷賱 廿賱賶 兀亘 賵兀賲 賵丨亘賷亘 !
亘毓囟 丕賱賰鬲亘 鬲鬲丨賵賱 毓賳丿 丕賱乇丨賷賱 廿賱賶 胤賮賱 賲丿賱賱
賷鬲卮亘孬 亘孬賵亘賰 賵賯丿賲賷賰 賵賯賱亘賰 賵毓賯賱賰
賮鬲氐亘丨 禺胤賵丞 丕賱賲睾丕丿乇丞 兀孬賯賱 毓賱賷賰 賲賳 噩亘賱 !
亘毓囟 丕賱賰鬲亘 鬲賲爻賷 噩夭亍 賲賳賰 賵鬲賲爻賷 丕賳鬲 噩夭亍 賲賳賴丕 賮賷賲爻賷 丕賱丕賳鬲賴丕亍 賲賳賴丕 鬲噩乇亘賴 賲乇賷乇賴 賰胤賱賵丨 丕賱乇賵丨 丕賱鬲賷 賲丕 亘毓丿賴丕 乇賵丨 !
賴匕丕 卮毓賵乇 賳丕丿乇 噩丿丕貙 毓卮鬲賴 兀賳丕貙 賮 丕賱賮乇丕賯 丕賱賷賵賲 賰丕賳 賱 爻賷賵乇丕賳貙 丕賱賮乇丕賯 丕賱賷賵賲 兀鬲賶 賱 爻賷賵乇丕賳 !
賳毓賲 爻賷賵乇丕賳 !
賳亘賷 丕賱鬲卮丕卅賲 賵乇爻賵賱 丕賱卮賯丕亍 !
賰丕鬲亘 兀禺乇 賷丿賮毓賰 丕賱賶 丨亘 丕賱賲賵鬲 賵丕賱丕賯鬲乇丕亘 賲賳賴 !
丕賱賮乇賯 賴賳丕貙 丕賳 爻賷賵乇丕賳 賰丕賳 賷匕賲 丕賱賵賱丕丿賴 賳賮爻賴丕 賵賱賲 賷賲丿丨 賮賷 丕賱賲賵鬲 匕丕鬲賴 !
賮毓賱賶 毓賰爻 丕賱賰丕鬲亘賴 丕賱丕賲乇賷賰賷賴 " 丕賳 爻賰爻鬲賵賳"
丕賱鬲賷 鬲賮賳賳鬲 賮賷 鬲囟禺賷賲 丕賱賲賵鬲 賵鬲噩賲賷賱賴 !
賴匕丕 丕賱乇賵賲丕賳賷 丕賱毓亘賯乇賷 賷毓賵丿 亘賰 丕賱賶 亘丿丕賷丕鬲賰
丕賱賶 丕賱孬丕賳賷賴 丕賱丕賵賱賶 賲賳 丕賱丿賯賷賯丞 丕賱丕賵賱賶 賲賳 丕賱賷賵賲 丕賱丕賵賱 貙 丕賱賶 賷賵賲 賲賵賱丿賰 賵馗賴賵乇賰 丕賱賶 賴匕丕 丕賱賰賵賳 !
賷毓賵丿 亘賰 丕賱賶 丕賱賷賵賲 丕賱匕賷 兀賳噩亘鬲賰 亘賴丕 兀賲購賰 賵賷噩毓賱賰 鬲賰乇賴 亘賴 丕賱賷賵賲 丕賱匕賷 兀鬲賷鬲 亘賴 丕賱賶 賴匕丕 丕賱毓丕賱賲 .. 賵丕賯氐丿賴丕 賴賳丕 :
丨-乇-賮-賷-丕 !!!
丨-乇-賮-賷-丕 !!!
丨-乇-賮-賷-丕 !!!
賳毓賲 丨乇賮賷丕 !!
賷賯賵賱 爻賷賵乇丕賳 :
"賲噩乇丿 丕賱鬲賮賰賷乇 賮賷 兀賳賷 賱賲 兀賵賱丿 賯胤 禺賷丕賱 賰丕賮賷 賱兀賳 賷噩賱亘 賱賷 卮毓賵乇 丕賱爻毓丕丿賴 貙 卮毓賵乇 丕賱丨乇賷賴貙 卮毓賵乇 丕賱賲丿賶"
鬲禺賷賱賵 賲毓賷 賰丕鬲亘 賲賵賴賵亘 賯囟賶 丕賱毓賲乇 賰賱賴 賷賰鬲亘 毓賳 賰乇賴賴 賱 丕賱丨賷丕賴 亘賲丕 丨賵鬲 賵丕丨鬲賵鬲 貙爻兀賲 賲賳 賰賱 卮賷 賵兀賷 卮賷 貙 賳丕賯賲 毓賱賷賰 賵毓賱賷 賵毓賱賶 丕賱噩賳爻 丕賱亘卮乇賷 賵毓賱賶 丕賱賳丕爻 兀噩賲毓賷賳.
爻丕禺胤 毓賱賶 丕賱匕乇賴貙 賵毓賱賶 丕賱禺賱賷賴 貙 賵毓賱賶 丕賱賰乇賴 丕賱丕乇囟賷賴 貙 賵毓賱賶 丕賱賲噩賲賵毓賴 丕賱卮賲爻賷丞 貙 賵毓賱賶 丿乇亘 丕賱鬲亘丕賳賴 賵毓賱賶 丕賱睾亘丕乇 丕賱賰賵賳賷 亘兀賰賲賱賴.
丕匕丕 賰丕賳 賴賳丕賰 賲卅丕鬲 丕賱賰鬲丕亘 丕賱匕賷賳 賰鬲亘賵丕 毓賳 賲爻丕賵卅 丕賱賵賱丕丿賴 賵賰賷賮賷賴 毓賷卮 丕賱丨賷丕賴 亘爻毓丕丿賴 貙 賮賯賱賴 賯賱賷賱賴 兀賵賱卅賰 丕賱匕賷賳 賰鬲亘賵丕 毓賳 賲孬丕賱亘 丕賱賵賱丕丿賴 賵賰賷賮賷賴 毓賷卮 丕賱丨賷丕賴 亘鬲毓丕爻賴貙 丕賱賰鬲丕亘 賴匕丕 兀毓丕丿賳賷 丕賱賶 乇賵丕賷賴 "丕賱賳丕賯賵爻 丕賱夭噩丕噩賷" "賱爻賱賮賷丕 亘賱丕孬"
丕賱賮丕乇賯 丕賳 爻賱賮賷丕 賮毓賱丕 兀賳賴鬲 丨賷丕鬲賴丕 丕賲丕 爻賷賵乇丕賳 囟賱 賷噩乇 噩爻丿賴 丕賱賲鬲卮兀賲 丕賱賶 兀賳 賲丕鬲 賲賵鬲賴 胤亘賷毓賷賴 !!
賳毓賲
賮乇丕賯 賴匕丕 丕賱賰鬲丕亘 氐毓亘丕 噩丿丕 !
賵賱丕 丕鬲賵賯毓 兀賳賷 爻兀賳爻卅 乇丨賱鬲賷 賲毓賴 賯胤 !
賮賯丿 賷睾賱賯 丕賱賯丕乇卅 丕賱賰鬲丕亘 賮賷 丕賱賳賴丕賷賴 亘丨爻乇賴 賵丕乇鬲亘丕賰 賵鬲卮賵卮 貙 賱賰賳 賱丿賷 賯賳丕毓賴 賰丕賲賱賴 丕賳賴 亘賲噩乇丿 丕賱丕賳鬲賴丕亍 賲賳 丕賱賰鬲丕亘 爻賷賳賮乇 賲賳 賮賰乇賴 丕賱廿賳噩丕亘 賵賮賰乇賴 丕賱賵賱丕丿賴 賵賮賰乇賴 丕賱丨賷丕賴 亘兀賰賲賱賴丕.
賵賰毓丕丿鬲賷 .. 丿丕卅賲丕 賲丕 兀丨丕賵賱 賲卮丕乇賰賴 丕賱丕賯鬲亘丕爻丕鬲 丕賱鬲賷 鬲乇賵賯 賱賷 賲毓 睾賷乇賷貙 兀丿賳丕賴 亘毓囟賸丕 賲賳 丕賱丕賯鬲亘丕爻丕鬲 丕賱鬲賷 賷爻鬲丨賯 丕賱賵賯賵賮 毓賳丿賴丕.
賰賱賲丕 賲乇鬲 丕賱爻賳賵丕鬲
賰賱賲丕 兀賳禺賮囟 毓丿丿 丕賱匕賷賳 賳爻鬲胤賷毓 丕賱鬲賮丕賴賲 賲毓賴賲
賵賷賵賲丕 賲丕 賱賳 賳噩丿 卮禺氐賸丕 賳鬲丨丿孬 兀賱賷賴
賳賰賵賳 兀禺賷乇賸丕 賰賲丕 賰賳丕 賯亘賱 兀賳 賷賰賵賳 賱賳丕 丨鬲賶 兀爻賲.
兀賳 鬲鬲賲乇丿 毓賱賶 丕賱賵賱丕丿賴 賷毓賳賷 兀賳 鬲鬲賲乇丿 毓賱賶 亘賱丕賷賷賳 丕賱爻賳賵丕鬲
兀賳 鬲鬲賲乇丿 毓賱賶 丕賱禺賱賷賴 丕賱兀賵賱卅
毓賱賶 丕賱毓賰爻 賲賳 丕賱賳亘賷 兀賷賵亘
賱賲 兀賱毓賳 賷賵賲 賲賷賱丕丿賷
兀賲丕 丕賱兀賷丕賲 丕賱兀禺乇賶 .. 賮賯丿 兀卮亘毓鬲賴丕 賱毓賳丕鬲.
賱賱亘毓囟 賲氐丕卅亘 賵賱賱兀禺乇賷賳 賵爻丕賵爻
鬲乇卅 賲賳 賲賳賴賲丕 賷爻鬲丨賯 丕賱乇孬丕亍 兀賰孬乇 責
毓賵囟丕 毓賳 丕賱賯亘賵賱 亘丨丿孬 賵賱丕丿鬲賷 毓賲賱賸丕 亘丕賱賲爻賱賲丕鬲
賯賲鬲 兀乇丕賴賳
兀鬲丿丨乇噩 兀賱賶 丕賱禺賱賮
兀鬲賯賴賯賴乇 兀賰孬乇 賮兀賰孬乇
兀賳鬲賯賱 賲賳 亘丿丕賷賴 丕賱賶 亘丿丕賷賴
毓賱賷 兀賳噩丨 匕丕鬲 賷賵賲 賮賷 丕賱賵氐賵賱 丕賱賶 丕賱亘丿丕賷賴 賳賮爻賴丕
賰賷 兀爻鬲乇賷丨 兀賵 兀賳賴丕乇
兀賷 賴丿賵亍 賷賮丕噩卅賳丕
毓賳丿 丕賱丨賷乇賴 賵丕賱賴賱毓
賲丕 兀賳 賳賮賰乇 賮賷 丕賱賳胤賮賴 丕賱鬲賷 賰賳丕 毓賱賷賴丕.
賲丕 賲賳 兀丨丿 毓丕卮 賯乇賷亘丕 噩丿丕 賲賳 賴賷賰賱賴 丕賱毓馗賲賷 賲孬賱賲丕 賮毓賱鬲 兀賳丕
賳鬲噩 毓賳 匕賱賰 丨賵丕乇 賱丕 賳賴丕賷賴 賱賴 賵亘囟毓 丨賯丕卅賯 賱丕 兀賮賱丨 賮賷 賯亘賵賱賴丕 賵賱丕 賮賷 乇賮囟賴丕
賲賳 胤亘毓 丕賱賲乇囟 兀賳 賷爻賴乇 丨賷賳 賷賳丕賲 賰賱 卮卅
丨賷賳 賷禺賱丿 丕賱賰賱 丕賱賶 丕賱賳賵賲
丨鬲賶 丕賱賲乇賷囟
毓卮鬲 丿丕卅賲丕 賮賷 賯賱賯 賵禺賵賮 賲賳 兀賳 賷賮丕噩卅賳賷 丕賱兀爻賵丕亍
賱匕賱賰 丨丕賵賱鬲 賮賷 賰賱 丕賱馗乇賵賮 兀賳 兀爻鬲亘賯 丕賱兀賲賵乇
賲乇鬲賰亘賸丕 賮賷 丕賱賲氐丕卅亘 賯亘賱 兀賳 鬲丨氐賱
丕賱兀賮賰丕乇 丕賱兀賯賱 禺亘孬賸丕 賴賷 鬲賱賰 丕賱鬲賷 鬲賳亘孬賯 賲賳 亘賷賳 賴賲賵賲賳丕 . 賲賳 亘賷賳 賮賵丕氐賱 賲鬲丕毓亘賳丕 貙 賲賳 亘賷賳 鬲賱賰 丕賱賱丨馗丕鬲 丕賱賮丕禺乇丞 賮賷 亘丐爻賳丕
賰丕賳 賷匕賴亘 亘毓賷丿丕 貙 賮賷 禺賷乇 丕賵 卮乇 貙 匕丕賰 丕賱匕賷 賷禺丕賮 兀賳 賷氐亘丨 兀囟丨賵賰賴 爻賷馗賱 兀丿賳賶 賲賳 賲賵丕賴亘賴 賵爻賷丨賰賲 毓賱賷賴 亘丕賱鬲賮丕賴賴 賵兀賳 賰丕賳 毓亘賯乇賷丕
鈥�
鈥�
鈥�
鈥�
June 20, 2018
I don't have time to be depressed anymore but this book certainly helps!
I think if I had read this book in high school it would've been my favourite book of all time. I was legitimately depressed and I really would have felt what Cioran is saying in my bones. If I had read it in university I would've loved it. Its so beautifully written and while I wasn't as depressed, I would have had the time to process it and peace of mind to quietly contemplate it. I have in fact read it now as an adult with a job and I honestly just flipped through it going "that's nice" "that's a nice way of saying it" "huh, neat turn of phrase" "so true" and really I was just trying to get through it.
What I'm trying to say is I finished this book more disappointed in myself and the sadness I found in reading this book is that my life is so soul crushingly uncomfortable I can't even read a sad book and feel sad without feeling like I'm wasting time and that I should be working.
The true depression is the friends we made on the way.
I think if I had read this book in high school it would've been my favourite book of all time. I was legitimately depressed and I really would have felt what Cioran is saying in my bones. If I had read it in university I would've loved it. Its so beautifully written and while I wasn't as depressed, I would have had the time to process it and peace of mind to quietly contemplate it. I have in fact read it now as an adult with a job and I honestly just flipped through it going "that's nice" "that's a nice way of saying it" "huh, neat turn of phrase" "so true" and really I was just trying to get through it.
What I'm trying to say is I finished this book more disappointed in myself and the sadness I found in reading this book is that my life is so soul crushingly uncomfortable I can't even read a sad book and feel sad without feeling like I'm wasting time and that I should be working.
The true depression is the friends we made on the way.
August 4, 2024
爻賴 賵 賳蹖賲 爻鬲丕乇賴
芦賲賳 亘賴 禺丕胤乇 賲鬲賵賱丿 卮丿賳 禺賵丿 乇丕 賳賲蹖鈥屫ㄘ促�. 丕賳诏丕乇 亘丕 禺夭蹖丿賳 亘賴 丕蹖賳 噩賴丕賳 亘賴 乇丕夭蹖 亘蹖鈥屫辟呚� 讴乇丿賴鈥屫з呚� 亘賴 賲毓丕賴丿丕鬲蹖 禺胤蹖乇 禺蹖丕賳鬲 讴乇丿賴鈥屫з呚� 賲乇鬲讴亘 鬲賯氐蹖乇蹖 賳爻亘鬲 亘賴 噩亘乇賵鬲蹖 亘蹖鈥屬嗀з呪€屬堎嗀簇з� 卮丿賴鈥屫з�. 亘丕 丕蹖賳 賴賲賴 丿乇 丨丕賱鬲蹖 讴賲鈥屫� 噩爻賵乇丕賳賴貙 鬲賵賱丿 爻丕賳丨賴鈥屫й� 亘賴鈥� 賳馗乇 賲蹖鈥屫必池� 讴賴 亘丕 賳卮賳丕禺鬲賳卮 賳诏賵賳 亘禺鬲 禺賵丕賴賲 亘賵丿.禄
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芦丕诏乇 鬲賵丕賳爻鬲賴鈥屫з� 鬲丕 丨丕賱丕 丿賵丕賲 亘蹖丕賵乇賲 亘賴 爻亘亘 丌賳 丕爻鬲 讴賴 倬蹖賽 賴乇 囟乇亘賴鈥屫й� 讴賴 丿乇 丌賳 賱丨馗賴 睾蹖乇賯丕亘賱鈥屫呝� 亘賴 賳馗乇 賲蹖鈥屫必驰屫� 囟乇亘賴 丿賵賲蹖 丌賲丿 讴賴 亘丿鬲乇 亘賵丿貙 賵 囟乇亘賴 爻賵賲蹖 賵 賴賲蹖賳鈥屫焚堌� 鬲丕 丌禺乇. 丕诏乇 丿乇 噩賴賳賲 亘賵丿賲 禺賵丕爻鬲丕乇 丌賳 賲蹖鈥屫簇� 讴賴 胤亘賯丕鬲卮 趩賳丿 亘乇丕亘乇 卮賵賳丿貙 亘賴 丕賲蹖丿 賲噩丕夭丕鬲 鬲丕夭賴鈥屫й� 胤丕賯鬲鈥屬佖必池ж� 丕夭 倬蹖卮蹖賳蹖丕賳卮. 爻蹖丕爻鬲蹖 丕孬乇亘禺卮 賱丕丕賯賱 丿乇 丕乇鬲亘丕胤 亘丕 毓匕丕亘 賴丕.禄
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賲丕 丿乇 鬲噩乇亘賴 丨爻 賴丕蹖 亘爻蹖丕乇 賯丿乇鬲賲賳丿賽 丿乇丿貙 禺蹖賱蹖 亘蹖卮鈥屫� 丕夭 丨爻 賴丕蹖 亘爻蹖丕乇 禺賮蹖賮貙 禺賵蹖卮鬲賳 乇丕 賲卮丕賴丿賴 賲蹖鈥屭┵嗃屬呚� 賵 賲蹖丕賳 蹖讴 卮丕賴丿 亘蹖乇賵賳蹖 賵 蹖讴 賲丨賳鬲鈥屭┴� 賳丕賱丕賳賽 囟噩賴鈥屫操� 丿賵倬丕乇賴 賲蹖鈥屫促堐屬�. 賴乇 趩蹖夭蹖 讴賴 亘賴 爻乇 丨丿 毓匕丕亘 亘乇爻丿 乇賵丕賳卮賳丕爻 賵 賳蹖夭 丌夭賲丕蹖卮诏乇 丿乇賵賳蹖 賲丕 乇丕 亘蹖丿丕乇 賲蹖鈥屭┵嗀�: 賲蹖禺賵丕賴蹖賲 亘亘蹖賳蹖賲 鬲丕 讴噩丕 賲蹖鈥屫堌з嗃屬� 丿乇 丕賲乇 睾蹖乇賯丕亘賱鈥屫呝� 倬蹖卮鈥屸€� 亘乇賵蹖賲.
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禺賵卮亘禺鬲丕賳賴 賲賳 賴蹖趩 丕蹖賲丕賳蹖 賳丿丕乇賲. 丕诏乇 丿丕卮鬲賲 亘丕蹖丿 丿乇 鬲乇爻 丿丕卅賲蹖賽 丕夭 丿爻鬲鈥� 丿丕丿賳卮 夭賳丿诏蹖 賲蹖鈥屭┴必�. 丕夭 丕蹖賳鈥屫辟� 丕蹖賲丕賳 亘賴鈥屫� 丌夭丕乇 丿丕丿賳 賲賳 賴蹖趩鈥屭┴ж臂� 賳賲蹖鈥屭┴必� 蹖丕乇蹖 乇爻丕賳丿賳 讴賴 倬蹖卮讴卮.
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乇蹖賵蹖賵:
趩賵乇丕賳 賲蹖诏賴 亘賴 噩丕蹖 丕蹖賳 讴賴 賴乇 乇賵夭 亘賴 賲乇诏 賮讴乇 讴賳蹖賲 鬲丕 賲毓賳蹖 乇賵 倬蹖丿丕 讴賳蹖賲 (賴賲賵賳胤賵乇 讴賴 丕诏夭蹖爻鬲丕賳爻蹖丕賱蹖爻鬲 賴丕 賲蹖诏賳)貙 亘蹖丕蹖賳 乇丕噩亘 賳賯胤賴 丌睾丕夭 賵 鬲賵賱丿賲賵賳 賮讴乇 讴賳蹖賲 :
芦賲丕 亘蹖鈥屬呟屬勠屬� 亘賴 丕蹖賳 讴賴 鬲賵賱丿 乇丕 亘賱丕 鬲毓亘蹖乇 讴賳蹖賲: 丌蹖丕 鬲賵賱丿 乇丕 亘賴 毓賳賵丕賳 毓丕賱蹖鈥屫臂屬� 禺亘乇 噩丕 賳蹖賳丿丕禺鬲賴鈥屫з嗀� 丌蹖丕 亘賴 賲丕 賳诏賮鬲賴鈥屫з嗀� 亘丿鬲乇蹖賳 趩蹖夭 丿乇 倬丕蹖丕賳 賲蹖鈥屫③屫� 賳賴 丿乇 丌睾丕夭 夭賳丿诏蹖鈥屬呚з嗀熉�
賲鬲賳 讴鬲丕亘 賲賳爻噩賲 賳蹖爻鬲. 讴鬲丕亘 丕氐賱丕 鬲禺氐氐蹖 賳蹖爻鬲 賵 亘蹖卮鬲乇 亘賴 氐賵乇鬲 賯胤毓賴 賴丕蹖蹖 丕夭 丕賮讴丕乇賽 丿賱蹖 趩賵乇丕賳賴 :)
鬲乇噩賲卮 亘毓囟蹖 噩丕 賴丕 賵丕賯毓丕 睾蹖乇賯丕亘賱 禺賵丕賳卮 亘賵丿.
亘丕 丕蹖賳 丨丕賱 讴鬲丕亘 禺蹖賱蹖 禺賵亘蹖 亘賵丿. 丕賮讴丕乇 賵 丕爻鬲丿賱丕賱 賴丕蹖 趩賵乇丕賳 乇賵鈥� 禺蹖賱蹖蹖蹖蹖 丿賵爻鬲 丿丕乇賲. 鬲乇噩蹖丨丕 賴賲夭賲丕賳 亘丕 蹖賴 讴鬲丕亘 丿蹖诏賴 賵 丨丕賱 禺賵亘 讴賳 亘禺賵賳蹖丿卮 趩賵賳 賲賲讴賳賴 丕賮爻乇丿賴鈥屭┵嗁嗀� 亘丕卮賴 亘毓囟蹖 噩丕賴丕. :)
氐丿 丿乇 氐丿 丕乇夭卮 禺賵賳丿賳 丿丕乇賴...
芦賲賳 亘賴 禺丕胤乇 賲鬲賵賱丿 卮丿賳 禺賵丿 乇丕 賳賲蹖鈥屫ㄘ促�. 丕賳诏丕乇 亘丕 禺夭蹖丿賳 亘賴 丕蹖賳 噩賴丕賳 亘賴 乇丕夭蹖 亘蹖鈥屫辟呚� 讴乇丿賴鈥屫з呚� 亘賴 賲毓丕賴丿丕鬲蹖 禺胤蹖乇 禺蹖丕賳鬲 讴乇丿賴鈥屫з呚� 賲乇鬲讴亘 鬲賯氐蹖乇蹖 賳爻亘鬲 亘賴 噩亘乇賵鬲蹖 亘蹖鈥屬嗀з呪€屬堎嗀簇з� 卮丿賴鈥屫з�. 亘丕 丕蹖賳 賴賲賴 丿乇 丨丕賱鬲蹖 讴賲鈥屫� 噩爻賵乇丕賳賴貙 鬲賵賱丿 爻丕賳丨賴鈥屫й� 亘賴鈥� 賳馗乇 賲蹖鈥屫必池� 讴賴 亘丕 賳卮賳丕禺鬲賳卮 賳诏賵賳 亘禺鬲 禺賵丕賴賲 亘賵丿.禄
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芦丕诏乇 鬲賵丕賳爻鬲賴鈥屫з� 鬲丕 丨丕賱丕 丿賵丕賲 亘蹖丕賵乇賲 亘賴 爻亘亘 丌賳 丕爻鬲 讴賴 倬蹖賽 賴乇 囟乇亘賴鈥屫й� 讴賴 丿乇 丌賳 賱丨馗賴 睾蹖乇賯丕亘賱鈥屫呝� 亘賴 賳馗乇 賲蹖鈥屫必驰屫� 囟乇亘賴 丿賵賲蹖 丌賲丿 讴賴 亘丿鬲乇 亘賵丿貙 賵 囟乇亘賴 爻賵賲蹖 賵 賴賲蹖賳鈥屫焚堌� 鬲丕 丌禺乇. 丕诏乇 丿乇 噩賴賳賲 亘賵丿賲 禺賵丕爻鬲丕乇 丌賳 賲蹖鈥屫簇� 讴賴 胤亘賯丕鬲卮 趩賳丿 亘乇丕亘乇 卮賵賳丿貙 亘賴 丕賲蹖丿 賲噩丕夭丕鬲 鬲丕夭賴鈥屫й� 胤丕賯鬲鈥屬佖必池ж� 丕夭 倬蹖卮蹖賳蹖丕賳卮. 爻蹖丕爻鬲蹖 丕孬乇亘禺卮 賱丕丕賯賱 丿乇 丕乇鬲亘丕胤 亘丕 毓匕丕亘 賴丕.禄
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賲丕 丿乇 鬲噩乇亘賴 丨爻 賴丕蹖 亘爻蹖丕乇 賯丿乇鬲賲賳丿賽 丿乇丿貙 禺蹖賱蹖 亘蹖卮鈥屫� 丕夭 丨爻 賴丕蹖 亘爻蹖丕乇 禺賮蹖賮貙 禺賵蹖卮鬲賳 乇丕 賲卮丕賴丿賴 賲蹖鈥屭┵嗃屬呚� 賵 賲蹖丕賳 蹖讴 卮丕賴丿 亘蹖乇賵賳蹖 賵 蹖讴 賲丨賳鬲鈥屭┴� 賳丕賱丕賳賽 囟噩賴鈥屫操� 丿賵倬丕乇賴 賲蹖鈥屫促堐屬�. 賴乇 趩蹖夭蹖 讴賴 亘賴 爻乇 丨丿 毓匕丕亘 亘乇爻丿 乇賵丕賳卮賳丕爻 賵 賳蹖夭 丌夭賲丕蹖卮诏乇 丿乇賵賳蹖 賲丕 乇丕 亘蹖丿丕乇 賲蹖鈥屭┵嗀�: 賲蹖禺賵丕賴蹖賲 亘亘蹖賳蹖賲 鬲丕 讴噩丕 賲蹖鈥屫堌з嗃屬� 丿乇 丕賲乇 睾蹖乇賯丕亘賱鈥屫呝� 倬蹖卮鈥屸€� 亘乇賵蹖賲.
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禺賵卮亘禺鬲丕賳賴 賲賳 賴蹖趩 丕蹖賲丕賳蹖 賳丿丕乇賲. 丕诏乇 丿丕卮鬲賲 亘丕蹖丿 丿乇 鬲乇爻 丿丕卅賲蹖賽 丕夭 丿爻鬲鈥� 丿丕丿賳卮 夭賳丿诏蹖 賲蹖鈥屭┴必�. 丕夭 丕蹖賳鈥屫辟� 丕蹖賲丕賳 亘賴鈥屫� 丌夭丕乇 丿丕丿賳 賲賳 賴蹖趩鈥屭┴ж臂� 賳賲蹖鈥屭┴必� 蹖丕乇蹖 乇爻丕賳丿賳 讴賴 倬蹖卮讴卮.
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乇蹖賵蹖賵:
趩賵乇丕賳 賲蹖诏賴 亘賴 噩丕蹖 丕蹖賳 讴賴 賴乇 乇賵夭 亘賴 賲乇诏 賮讴乇 讴賳蹖賲 鬲丕 賲毓賳蹖 乇賵 倬蹖丿丕 讴賳蹖賲 (賴賲賵賳胤賵乇 讴賴 丕诏夭蹖爻鬲丕賳爻蹖丕賱蹖爻鬲 賴丕 賲蹖诏賳)貙 亘蹖丕蹖賳 乇丕噩亘 賳賯胤賴 丌睾丕夭 賵 鬲賵賱丿賲賵賳 賮讴乇 讴賳蹖賲 :
芦賲丕 亘蹖鈥屬呟屬勠屬� 亘賴 丕蹖賳 讴賴 鬲賵賱丿 乇丕 亘賱丕 鬲毓亘蹖乇 讴賳蹖賲: 丌蹖丕 鬲賵賱丿 乇丕 亘賴 毓賳賵丕賳 毓丕賱蹖鈥屫臂屬� 禺亘乇 噩丕 賳蹖賳丿丕禺鬲賴鈥屫з嗀� 丌蹖丕 亘賴 賲丕 賳诏賮鬲賴鈥屫з嗀� 亘丿鬲乇蹖賳 趩蹖夭 丿乇 倬丕蹖丕賳 賲蹖鈥屫③屫� 賳賴 丿乇 丌睾丕夭 夭賳丿诏蹖鈥屬呚з嗀熉�
賲鬲賳 讴鬲丕亘 賲賳爻噩賲 賳蹖爻鬲. 讴鬲丕亘 丕氐賱丕 鬲禺氐氐蹖 賳蹖爻鬲 賵 亘蹖卮鬲乇 亘賴 氐賵乇鬲 賯胤毓賴 賴丕蹖蹖 丕夭 丕賮讴丕乇賽 丿賱蹖 趩賵乇丕賳賴 :)
鬲乇噩賲卮 亘毓囟蹖 噩丕 賴丕 賵丕賯毓丕 睾蹖乇賯丕亘賱 禺賵丕賳卮 亘賵丿.
亘丕 丕蹖賳 丨丕賱 讴鬲丕亘 禺蹖賱蹖 禺賵亘蹖 亘賵丿. 丕賮讴丕乇 賵 丕爻鬲丿賱丕賱 賴丕蹖 趩賵乇丕賳 乇賵鈥� 禺蹖賱蹖蹖蹖蹖 丿賵爻鬲 丿丕乇賲. 鬲乇噩蹖丨丕 賴賲夭賲丕賳 亘丕 蹖賴 讴鬲丕亘 丿蹖诏賴 賵 丨丕賱 禺賵亘 讴賳 亘禺賵賳蹖丿卮 趩賵賳 賲賲讴賳賴 丕賮爻乇丿賴鈥屭┵嗁嗀� 亘丕卮賴 亘毓囟蹖 噩丕賴丕. :)
氐丿 丿乇 氐丿 丕乇夭卮 禺賵賳丿賳 丿丕乇賴...
December 8, 2021
Rust Cohle, in True Detective quotes,
'I think human consciousness was a tragic misstep in evolution. We became too self aware. Nature created an aspect of nature separate from itself. We are creatures that should not exist, by natural law.'
It is one of the most talked about quote from the season, however what is not talked about is what follows, which is, his partner, very normally, shrugging off this idea as awful.
This human tendency of being unable to relate with the realities of life and then enwrapping it with shallow meanings in the guise of happiness and countenance is also a very depressing thought, which is hardly shrugged off.
Cioran also has a similar distaste for consciousness,
'Consciousness is much more than the thorn, it is the dagger in the flesh.'
and
'Salvation? Whatever diminishes the kingdom of consciousness and compromises its supremacy.'
The title of Cioran's masterpiece is questioning the question which arises with the gift of life; 'the trouble of it'. And Cioran answers it perfectly.
These collections of aphorisms, quite blatantly despairing through the existence of man and his quest of importance and meaning, explains the dread of it all, perhaps pointing towards an existence of non-existence, by just being.
"You are against everything that's been done since the last war," said the very up-to-date lady.
"You've got the wrong date: I'm against everything that's been done since Adam."
I would need every quote to completely justify the infinite magnitude of brilliance carried throughout the book.
Also, one of the most outstanding thing was that it was a very easy read, quite unexpected given the heavy meanings the two hundred pages carried.
This was my first dialogue with Cioran and I will definitely keep visiting it.
'I think human consciousness was a tragic misstep in evolution. We became too self aware. Nature created an aspect of nature separate from itself. We are creatures that should not exist, by natural law.'
It is one of the most talked about quote from the season, however what is not talked about is what follows, which is, his partner, very normally, shrugging off this idea as awful.
This human tendency of being unable to relate with the realities of life and then enwrapping it with shallow meanings in the guise of happiness and countenance is also a very depressing thought, which is hardly shrugged off.
Cioran also has a similar distaste for consciousness,
'Consciousness is much more than the thorn, it is the dagger in the flesh.'
and
'Salvation? Whatever diminishes the kingdom of consciousness and compromises its supremacy.'
The title of Cioran's masterpiece is questioning the question which arises with the gift of life; 'the trouble of it'. And Cioran answers it perfectly.
These collections of aphorisms, quite blatantly despairing through the existence of man and his quest of importance and meaning, explains the dread of it all, perhaps pointing towards an existence of non-existence, by just being.
"You are against everything that's been done since the last war," said the very up-to-date lady.
"You've got the wrong date: I'm against everything that's been done since Adam."
I would need every quote to completely justify the infinite magnitude of brilliance carried throughout the book.
Also, one of the most outstanding thing was that it was a very easy read, quite unexpected given the heavy meanings the two hundred pages carried.
This was my first dialogue with Cioran and I will definitely keep visiting it.
December 12, 2023
"I long to be free鈥攄esperately free. Free as the stillborn are free."
Wow. Cioran has undoubtedly grown mad over the years. Compared to his book "On the Heights of Despair", this one is nothing but a diary of a madman. There are no chapters, no continuity, just thoughts without context thrown here and there.
However, unlike in the book I mentioned, we can see his deeply antinatalistic side here. He compares birth to "chains" and not being born as the best thing that can happen to somebody. Birth is a false promise, he says:
"I was alone in that cemetery overlooking the village when a pregnant woman came in. I left at once, in order not to look at this corpse-bearer at close range, nor to ruminate upon the contrast between an aggressive womb and the time-worn tombs鈥攂etween a false promise and the end of all promises."
Among all the horrible ways I heard people call a pregnant woman, a corpse-bearer has to be the worst. However, as antinatalism is the belief that giving birth to someone is cursing them for a lifetime of suffering, I suppose it makes perfect sense to see the pregnant woman as the devil.
Also, I wish someone could explain to me what Cioran meant here:
"Sometimes I wish I were a cannibal鈥攍ess'for the pleasure of eating someone than for the pleasure of vomiting him."
Is there a deeper meaning, or was this man just insane? Well, I lean towards the second option. What?!
However, it was still somewhat intriguing to read it just to see how far Cioran can go. He went far, very far. I can't rate him low, for I found his thoughts as interesting as they were chilling.
"It's not worth the bother of killing yourself, since you always kill yourself too late."
Wow. Cioran has undoubtedly grown mad over the years. Compared to his book "On the Heights of Despair", this one is nothing but a diary of a madman. There are no chapters, no continuity, just thoughts without context thrown here and there.
However, unlike in the book I mentioned, we can see his deeply antinatalistic side here. He compares birth to "chains" and not being born as the best thing that can happen to somebody. Birth is a false promise, he says:
"I was alone in that cemetery overlooking the village when a pregnant woman came in. I left at once, in order not to look at this corpse-bearer at close range, nor to ruminate upon the contrast between an aggressive womb and the time-worn tombs鈥攂etween a false promise and the end of all promises."
Among all the horrible ways I heard people call a pregnant woman, a corpse-bearer has to be the worst. However, as antinatalism is the belief that giving birth to someone is cursing them for a lifetime of suffering, I suppose it makes perfect sense to see the pregnant woman as the devil.
Also, I wish someone could explain to me what Cioran meant here:
"Sometimes I wish I were a cannibal鈥攍ess'for the pleasure of eating someone than for the pleasure of vomiting him."
Is there a deeper meaning, or was this man just insane? Well, I lean towards the second option. What?!
However, it was still somewhat intriguing to read it just to see how far Cioran can go. He went far, very far. I can't rate him low, for I found his thoughts as interesting as they were chilling.
"It's not worth the bother of killing yourself, since you always kill yourself too late."
December 23, 2019
賲孬丕賱亘 ( 賲爻丕賵卅) 丕賱賵賱丕丿丞
丕噩丿 丕賳 賰鬲亘 丕賱賳氐賵氐 賲賳 丕賰孬乇 丕賱賰鬲亘 丕賱氐毓亘 鬲賯賷賷賲賴丕 丕賵 丕賱丨丿賷孬 毓賳賴丕 賱賰賳 亘丕禺鬲氐丕乇 :
賴匕丕 丕賱賰鬲丕亘 賵賴匕賴 丕賱賳氐賵氐 亘毓囟賴丕 乇丕卅毓 賵亘毓囟賴丕 噩賷丿 賵亘毓囟賴丕 爻卅 貙 亘毓囟賴丕 爻賴賱 賵亘毓囟賴丕 丕爻鬲毓氐賶 毓賱賶 賮賴賲賴 貙 賵亘毓囟賴丕 丕爻鬲賮夭賳賶 貙 亘毓囟賴丕 丕乇毓亘賳賶 賲賳 賰孬乇丞 賲丕賵噩丿鬲賴丕 賯乇賷亘丞 賲賳賶 賵鬲毓亘賷乇 毓賲丕 賷丿賵乇 丿丕禺賱 毓賯賱賶
賳氐賵氐 丕賱賳氐賮 丕賱丕賵賱 鬲賯乇賷亘丕 賲賳 丕賱賰鬲丕亘 丕賮囟賱 賲賳 丕賱丕噩夭丕亍 丕賱丕禺賷乇丞
丕賱賳氐賵氐 賯乇賷亘丞 賱賱丕卮禺丕氐 丕賱爻賵丿丕賵賷賷賳 賵丕賱賰卅賷亘賷賳 賰丨丕賱丕鬲賶 馃槀馃槀
丕賱賲鬲賮丕卅賱賵賳 賷賲鬲賳毓賵賳 馃ぃ馃ぃ 丕賵 賲賷乇賰夭賵卮 賲毓丕賴 丕賵賶 馃槀
丕噩丿 丕賳 賰鬲亘 丕賱賳氐賵氐 賲賳 丕賰孬乇 丕賱賰鬲亘 丕賱氐毓亘 鬲賯賷賷賲賴丕 丕賵 丕賱丨丿賷孬 毓賳賴丕 賱賰賳 亘丕禺鬲氐丕乇 :
賴匕丕 丕賱賰鬲丕亘 賵賴匕賴 丕賱賳氐賵氐 亘毓囟賴丕 乇丕卅毓 賵亘毓囟賴丕 噩賷丿 賵亘毓囟賴丕 爻卅 貙 亘毓囟賴丕 爻賴賱 賵亘毓囟賴丕 丕爻鬲毓氐賶 毓賱賶 賮賴賲賴 貙 賵亘毓囟賴丕 丕爻鬲賮夭賳賶 貙 亘毓囟賴丕 丕乇毓亘賳賶 賲賳 賰孬乇丞 賲丕賵噩丿鬲賴丕 賯乇賷亘丞 賲賳賶 賵鬲毓亘賷乇 毓賲丕 賷丿賵乇 丿丕禺賱 毓賯賱賶
賳氐賵氐 丕賱賳氐賮 丕賱丕賵賱 鬲賯乇賷亘丕 賲賳 丕賱賰鬲丕亘 丕賮囟賱 賲賳 丕賱丕噩夭丕亍 丕賱丕禺賷乇丞
丕賱賳氐賵氐 賯乇賷亘丞 賱賱丕卮禺丕氐 丕賱爻賵丿丕賵賷賷賳 賵丕賱賰卅賷亘賷賳 賰丨丕賱丕鬲賶 馃槀馃槀
丕賱賲鬲賮丕卅賱賵賳 賷賲鬲賳毓賵賳 馃ぃ馃ぃ 丕賵 賲賷乇賰夭賵卮 賲毓丕賴 丕賵賶 馃槀
September 16, 2021
賱爻賷賵乇丕賳 賲毓夭丞 禺丕氐丞 賱賰賱 賲賳 賷賯乇兀賴 賮賴賵 丕賱胤毓賲 丕賱賲乇 亘毓丿 賰賱 亘賴噩丞 貙賲賳 賷禺亘乇賰 丕賳賴丕 夭丕卅賱丞 亘賱 賵 乇亘賲丕 丕賳賴丕 賱賲 鬲賰賳 丕賱丕 賵賴賲丕 賲賳 丕賱丕爻丕爻... 賷鬲乇賰 丿丕卅賲丕 賮賷賰 卮毓賵乇丕 亘丕賱賲乇丕乇丞 賵 丕賱鬲卮賮賷 毓賱賷 丕賱爻賵丕亍 貙賷噩毓賱賰 鬲丿乇賰 丨賯賷賯丞 丕賱丕賲乇 賵 鬲賮丕賴鬲賴 賵 丕賱爻禺乇賷丞 丕賱毓賲賷賯丞 賮賷 毓馗賲鬲賴 賵 鬲毓賯賷丿賴
亘兀禺鬲氐丕乇 爻賷賵乇丕賳 賴賵 丕賱賷 亘賷胤賮丨賰 丕賱丨賯賷賯丞
賲賱丨賵馗丞 賱賷丕 丕賰鬲乇 賲丕 賴賷 賱賱賰鬲丕亘... 丕賳賴 氐毓亘 賷鬲賮賴賲 賰賱賴 賲乇賴 賵丕丨丿丞... 賴賵 賳氐賵氐 貙 賮賮賷 賳氐賵氐 亘鬲禺卮賱賷 亘爻乇毓丞 賵 賮賷 賳氐賵氐 賴鬲丨鬲丕噩 丕亘賯賷 丕孬賯賱 賵 丕賰鬲乇 賲乇賲乇胤胤丞 賵 丿乇丕賷賴 毓卮丕賳 丕賮賴賲賴丕... 賮賱賵 丕賯丿乇 賮賷 丕賱賲爻鬲賯亘賱 丕卮鬲乇賷 丕賱賰鬲丕亘 賵 丕乇噩毓賱丞 賰賱 卮賵賷丞 賴賷亘賯賷 丕丨爻賳...亘爻 賰丿丞
亘兀禺鬲氐丕乇 爻賷賵乇丕賳 賴賵 丕賱賷 亘賷胤賮丨賰 丕賱丨賯賷賯丞
賲賱丨賵馗丞 賱賷丕 丕賰鬲乇 賲丕 賴賷 賱賱賰鬲丕亘... 丕賳賴 氐毓亘 賷鬲賮賴賲 賰賱賴 賲乇賴 賵丕丨丿丞... 賴賵 賳氐賵氐 貙 賮賮賷 賳氐賵氐 亘鬲禺卮賱賷 亘爻乇毓丞 賵 賮賷 賳氐賵氐 賴鬲丨鬲丕噩 丕亘賯賷 丕孬賯賱 賵 丕賰鬲乇 賲乇賲乇胤胤丞 賵 丿乇丕賷賴 毓卮丕賳 丕賮賴賲賴丕... 賮賱賵 丕賯丿乇 賮賷 丕賱賲爻鬲賯亘賱 丕卮鬲乇賷 丕賱賰鬲丕亘 賵 丕乇噩毓賱丞 賰賱 卮賵賷丞 賴賷亘賯賷 丕丨爻賳...亘爻 賰丿丞
January 27, 2015
鈥淭here was a time when time did not yet exist. 鈥� The rejection of birth is nothing but the nostalgia for this time before time.鈥�
Read
May 23, 2019It's like Meditations for the depressed.
I mean, I'm a cynical pessimist with depressive tendencies myself, but this is ludicrously over-the-top. It's nearly to the point of comedy. Certainly something can be said of the Buddhist exercise of meditating on the dead鈥�if you end up appreciating life as a result. This is so relentlessly pessimistic that it's a challenge to overcome the author's bleak inertia. For example:
Man gives off a special odor: of all the animals, he alone smells of the corpse. (208)
or
What I knew at sixty, I knew as well at twenty. Forty years of a long, a superfluous, labor of verification. (7)
(And it goes on like this.)
4 stars out of 5. There are some good aphorisms and some insightfully witty statements in here, but it's so strung out for so long that as a whole it's unpleasant and overall uncomfortable to read.
I mean, I'm a cynical pessimist with depressive tendencies myself, but this is ludicrously over-the-top. It's nearly to the point of comedy. Certainly something can be said of the Buddhist exercise of meditating on the dead鈥�if you end up appreciating life as a result. This is so relentlessly pessimistic that it's a challenge to overcome the author's bleak inertia. For example:
Man gives off a special odor: of all the animals, he alone smells of the corpse. (208)
or
What I knew at sixty, I knew as well at twenty. Forty years of a long, a superfluous, labor of verification. (7)
(And it goes on like this.)
4 stars out of 5. There are some good aphorisms and some insightfully witty statements in here, but it's so strung out for so long that as a whole it's unpleasant and overall uncomfortable to read.
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