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鬲賲丕乇賷賳 賮賷 丕賱廿毓噩丕亘
賱賲 兀賱鬲賯賴丕 爻賵賶 賲乇鬲賷賳 賴匕丕 賯賱賷賱佻 賵賱賰賳賻賾 丕賱丕爻鬲孬賳丕卅賷賻賾 賱丕 賷賯丕爻購 亘賲賯丕賷賷爻賽 丕賱夭賻賾賲賳. 賰丕賳鬲賿 胤賱毓鬲賴丕 丕賱睾丕卅亘丞 賵丕賱賲丨賷賽賾乇丞 賲丕 卮丿賻賾賳賷 廿賱賷賴丕 毓賱賶 丕賱賮賵乇貙 賴賲爻丕鬲賴丕 廿匕 賱賲 鬲賰賳 鬲鬲賰賱賲貙 亘賱 鬲賴賲爻貙 丨乇賰丕鬲賴丕 丕賱賲囟胤乇亘丞貙 賳馗乇鬲賴丕 睾賷乇 丕賱賲鬲鬲亘毓丞 賱賱兀卮禺丕氐 兀賵 丕賱兀卮賷丕亍貙 乇賵賳賯 胤賷賮賴丕 丕賱兀禺丕匕. "賲賳 鬲賰賵賳賷賳責 賵賲賳 兀賷 賲賰丕賳 噩卅鬲責" 賰丕賳 賴匕丕 丕賱爻丐丕賱 丕賱匕賷 賳乇睾亘 胤乇丨賴 毓賱賷賴丕 賮賵乇 乇丐賷鬲賴丕. 賱賲 鬲賰賳 鬲爻鬲胤賷毓 丕賱廿噩丕亘丞貙 廿匕 賰丕賳鬲賿 卮丿賷丿丞 丕賱鬲賲丕賴賷 賲毓 爻乇賴丕 兀賵 毓丕噩夭丞賸 毓賳 禺賷丕賳鬲賴.賱賲 賷毓乇賮 兀丨丿賹 賰賷賮 賰丕賳鬲賿 鬲鬲賳賾賮爻貙 兀賵 亘兀賷賽賾 賱毓亘丞 賰丕賳鬲賿 鬲禺囟毓 賱爻賱胤丕賳 丕賱賳賻賾賮賻爻貙 兀賵 賲丕 賰丕賳鬲賿 鬲亘丨孬 毓賳賴 亘賷賳賳丕. 丕賱兀賰賷丿 兀賳賴丕 賱賲 鬲賰賳 賲賳 賴賳丕貙 賵賲卮丕乇賰鬲賴丕 賱爻賯賵胤賳丕 賮賷 丕賱夭賻賾賲賳 賰丕賳 兀丿亘賸丕 賲賳賴丕 兀賵 丨亘賻賾 丕爻鬲胤賱丕毓.
224 pages, Paperback
First published January 1, 1979
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About the author
Emil M. Cioran
153听books4,169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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January 23, 2025
Unul dintre foarte pu葲inii mei prieteni crede c膬 Exerci葲ii de admira葲ie e cea mai reu葯it膬 carte a lui Cioran. Nu-i 卯mp膬rt膬葯esc 卯ntru totul opinia, eu pun cele o mie de pagini din Caiete mai presus de orice alt膬 scriere a lui. Dar s-ar putea s膬 m膬 卯n葯el.
Cititorul poate fi intrigat de titlul deceptiv al acestui volum. Admira葲ia mefient膬 a lui Cioran nu e niciodat膬 卯ntreag膬. Textele s卯nt pline de 卯mpuns膬turi 葯i mali葲ii la adresa celor admira葲i. Obiec葲iile nu lipsesc. Nici ironia...
Dou膬 portrete fac excep葲ie. Primul e cel dedicat lui Samuel Beckett (i se pare lui Cioran un exemplu de discre葲ie 葯i bun sim葲), cel膬lalt poetei Susana Soca (o 鈥濾ictoria Ocampo a Uruguayului鈥�, pre葲uit膬 葯i de Borges), o femeie de o frumuse葲e nep膬m卯ntean膬. Titlul spune totul: 鈥濫a nu era de aici鈥�. Cioran deseneaz膬 conturul unui 卯nger vaporos. Printre remarcile ap膬sat misogine din acest volum (destul de multe), descrierea Susanei Soca este excep葲ia care nu infirm膬, din p膬cate, regula.
Se cunoa葯te scandalul provocat de 鈥濾al茅ry 卯n fa葲a idolilor s膬i鈥�. Un editor a avut impruden葲a de a-i solicita lui Cioran o prefa葲膬 la o antologie din scrierile francezului. A primit textul 葯i s-a 卯ngrozit: el voise un elogiu 葯i nu o diatrib膬. Au 卯nceput s膬 negocieze, dar Cioran n-a acceptat s膬 redacteze o nou膬 prefa葲膬, mai bl卯nd膬. Volumul lui Val茅ry s-a tip膬rit f膬r膬 introducerea lui Cioran. Admira葲iile lui erau necru葲膬toare.
E limpede c膬 E.M. Cioran nu a avut voca葲ie de encomiast. Pe Borges 卯l c膬ineaz膬 c膬 a fost lovit de marea n膬past膬 a gloriei: 鈥濶e艧ansa de a fi recunoscut [de a deveni notoriu] s-a ab膬tut asupra lui. Merita o soart膬 mai bun膬鈥�. Fitzgerald nu a reu葯it s膬 fie 鈥瀠n anxios de calitate鈥� 葯i asta dovede葯te c膬 a fost 鈥瀠n spirit de m卯na a doua鈥�: 鈥濩a to牛i indivizii frivoli, se teme s膬 coboare mai ad卯nc 卯n el 卯nsu艧i鈥�. Despre Chamfort afirm膬 卯n treac膬t: 鈥瀕aconismul trebuie s膬 r膬m卯n膬 t膬cere dac膬 nu vrea s膬 alunece 卯ntr-o profunzime fals enigmatic膬鈥�. Cu asta s卯nt perfect de acord. Chiar dac膬 le 卯ntorci pe dos, maximele morali葯tilor francezi r膬m卯n la fel de insipide. Las膬 impresia c膬 exprim膬 un mister absolut, dar 卯n realitate seam膬n膬 cu ni葯te p膬st膬i goale.
Transcriu 葯i o observa葲ie despre lumea aparte a Ia葯ilor:
C卯葲iva termeni prefera葲i de Cioran: isterie, explozie, exasperare, fanatism, delir, exces, convulsiv, insolubil etc.
P. S. Articolele lui Cioran se refer膬 la Joseph de Maistre, Paul Val茅ry, Samuel Beckett, Saint-John Perse, Mircea Eliade, Roger Caillois, Henri Michaux, Benjamin Fondane, Jorge Luis Borges, Maria Zambrano, Otto Weininger, F. Scott Fitzgerald, Guido Ceronetti, Susana Soca.
Cititorul poate fi intrigat de titlul deceptiv al acestui volum. Admira葲ia mefient膬 a lui Cioran nu e niciodat膬 卯ntreag膬. Textele s卯nt pline de 卯mpuns膬turi 葯i mali葲ii la adresa celor admira葲i. Obiec葲iile nu lipsesc. Nici ironia...
Dou膬 portrete fac excep葲ie. Primul e cel dedicat lui Samuel Beckett (i se pare lui Cioran un exemplu de discre葲ie 葯i bun sim葲), cel膬lalt poetei Susana Soca (o 鈥濾ictoria Ocampo a Uruguayului鈥�, pre葲uit膬 葯i de Borges), o femeie de o frumuse葲e nep膬m卯ntean膬. Titlul spune totul: 鈥濫a nu era de aici鈥�. Cioran deseneaz膬 conturul unui 卯nger vaporos. Printre remarcile ap膬sat misogine din acest volum (destul de multe), descrierea Susanei Soca este excep葲ia care nu infirm膬, din p膬cate, regula.
Se cunoa葯te scandalul provocat de 鈥濾al茅ry 卯n fa葲a idolilor s膬i鈥�. Un editor a avut impruden葲a de a-i solicita lui Cioran o prefa葲膬 la o antologie din scrierile francezului. A primit textul 葯i s-a 卯ngrozit: el voise un elogiu 葯i nu o diatrib膬. Au 卯nceput s膬 negocieze, dar Cioran n-a acceptat s膬 redacteze o nou膬 prefa葲膬, mai bl卯nd膬. Volumul lui Val茅ry s-a tip膬rit f膬r膬 introducerea lui Cioran. Admira葲iile lui erau necru葲膬toare.
E limpede c膬 E.M. Cioran nu a avut voca葲ie de encomiast. Pe Borges 卯l c膬ineaz膬 c膬 a fost lovit de marea n膬past膬 a gloriei: 鈥濶e艧ansa de a fi recunoscut [de a deveni notoriu] s-a ab膬tut asupra lui. Merita o soart膬 mai bun膬鈥�. Fitzgerald nu a reu葯it s膬 fie 鈥瀠n anxios de calitate鈥� 葯i asta dovede葯te c膬 a fost 鈥瀠n spirit de m卯na a doua鈥�: 鈥濩a to牛i indivizii frivoli, se teme s膬 coboare mai ad卯nc 卯n el 卯nsu艧i鈥�. Despre Chamfort afirm膬 卯n treac膬t: 鈥瀕aconismul trebuie s膬 r膬m卯n膬 t膬cere dac膬 nu vrea s膬 alunece 卯ntr-o profunzime fals enigmatic膬鈥�. Cu asta s卯nt perfect de acord. Chiar dac膬 le 卯ntorci pe dos, maximele morali葯tilor francezi r膬m卯n la fel de insipide. Las膬 impresia c膬 exprim膬 un mister absolut, dar 卯n realitate seam膬n膬 cu ni葯te p膬st膬i goale.
Transcriu 葯i o observa葲ie despre lumea aparte a Ia葯ilor:
鈥濸aradis al neurasteniei, Moldova e o provincie de un farmec trist, de-a dreptul insuportabil. La Ia艧i, capitala ei, am petrecut 卯n 1936 dou膬 s膬pt膬m卯ni: 卯n lipsa alcoolului, a艧 fi murit de ur卯t, un ur卯t ce te topea pe picioare鈥� (卯n articolul despre Benjamin Fondane / B. Fundoianu).
C卯葲iva termeni prefera葲i de Cioran: isterie, explozie, exasperare, fanatism, delir, exces, convulsiv, insolubil etc.
P. S. Articolele lui Cioran se refer膬 la Joseph de Maistre, Paul Val茅ry, Samuel Beckett, Saint-John Perse, Mircea Eliade, Roger Caillois, Henri Michaux, Benjamin Fondane, Jorge Luis Borges, Maria Zambrano, Otto Weininger, F. Scott Fitzgerald, Guido Ceronetti, Susana Soca.
November 16, 2023
The End of the End
Drawn and Quartered begins with an account of the Gnostic myth of the origin of mankind. Originally part of the heavenly host, human beings were unable to make up their minds whether to join the battle of the angels for or against God. For this indecision, we were banished to earth. The essential feature of our existence here is its lack of meaning, an appropriate punishment indeed, which we constantly attempt to escape by inventing stories like the Gnostic myt..
This 鈥渢ruth of no truth鈥� is the ultimate truth, as it were. 鈥淥ur only choice is between irrespirable truths and salutary frauds.鈥� We must hide from the truth in order to exist at all. This is 鈥渁n inhuman truth,鈥� one that is both inhumane and beyond the ability of our species to comprehend it. So we do our best to avoid it. The principal tool of our self-delusion is history. Without history we are already in what theologians call the eschaton , the end times. 鈥淗istory is the obstacle to ultimate revelation.鈥�
Francis Fukuyama was right therefore when he declared the End of History (in 1992), but not in the sense he imagined. Cioran anticipated his point, and radicalized it, long before Fukuyama had made it: 鈥淗enceforth there will be no more events!鈥� they will exclaim鈥� (in 1979). Fukuyama was referring to the inevitability of democratic capitalism as the future of the political world. Given subsequent events, Fukuyama was merely guilty of wishful thinking. Cioran got it right: it is when a political system looks most permanent that it is most vulnerable to being swept away. This is the truth hiding in Fukuyama鈥檚 error.
This is what the eschaton looks like. We inhabit it. We have always lived in it but have taught ourselves not to notice. This is an error whose truth we cannot conceive. In the midst of the end we are unable to appreciate it for what it is: the absence of any meaning we have been trying incessantly to impose upon the world. There is nothing more beyond this. Even the end has no meaning. 鈥淭he truth is, history does not quite lack essence, since it is the essence of deception, key to all that blinds us, all that helps us live in time.鈥� For Cioran , history is 鈥渢he rush toward a future where nothing ever becomes again?鈥� His suggestion is that we stop rushing; we have arrived.
Drawn and Quartered begins with an account of the Gnostic myth of the origin of mankind. Originally part of the heavenly host, human beings were unable to make up their minds whether to join the battle of the angels for or against God. For this indecision, we were banished to earth. The essential feature of our existence here is its lack of meaning, an appropriate punishment indeed, which we constantly attempt to escape by inventing stories like the Gnostic myt..
This 鈥渢ruth of no truth鈥� is the ultimate truth, as it were. 鈥淥ur only choice is between irrespirable truths and salutary frauds.鈥� We must hide from the truth in order to exist at all. This is 鈥渁n inhuman truth,鈥� one that is both inhumane and beyond the ability of our species to comprehend it. So we do our best to avoid it. The principal tool of our self-delusion is history. Without history we are already in what theologians call the eschaton , the end times. 鈥淗istory is the obstacle to ultimate revelation.鈥�
Francis Fukuyama was right therefore when he declared the End of History (in 1992), but not in the sense he imagined. Cioran anticipated his point, and radicalized it, long before Fukuyama had made it: 鈥淗enceforth there will be no more events!鈥� they will exclaim鈥� (in 1979). Fukuyama was referring to the inevitability of democratic capitalism as the future of the political world. Given subsequent events, Fukuyama was merely guilty of wishful thinking. Cioran got it right: it is when a political system looks most permanent that it is most vulnerable to being swept away. This is the truth hiding in Fukuyama鈥檚 error.
This is what the eschaton looks like. We inhabit it. We have always lived in it but have taught ourselves not to notice. This is an error whose truth we cannot conceive. In the midst of the end we are unable to appreciate it for what it is: the absence of any meaning we have been trying incessantly to impose upon the world. There is nothing more beyond this. Even the end has no meaning. 鈥淭he truth is, history does not quite lack essence, since it is the essence of deception, key to all that blinds us, all that helps us live in time.鈥� For Cioran , history is 鈥渢he rush toward a future where nothing ever becomes again?鈥� His suggestion is that we stop rushing; we have arrived.
May 9, 2013
Doubt works deep within you like a disease or, even more effectively, like a faith.I am incapable of tiring of Cioran. His pessimism is so freaking lyrical, his aphorisms so exquisitely timbered, his arpeggiated paragraphs and chorded essays so harmonic in their opaline darkness, their existential deliquescence, their inertial braggadocio, that I'm reduced to fanboy relish every time.
Our only choice is between irrespirable truths and salutary frauds.Et cetera, inter alia, e pluribus unum...
Like tragedy, history resolves nothing, because there is nothing to resolve. It is always by failure that we study the future. Too bad we cannot breathe as if events, in their totality, were suspended! Each time they evidence themselves a little too much, we suffer a fit of determinism, of fatalistic rage. By free will we explain only the surface of history, the appearances it assumes, its external vicissitudes, but not its depths, its real course, which preserves, in spite of everything, a baffling, even a mysterious character. We are still amazed that Hannibal, after Cannae, did not fall upon Rome. Had he done so, we should be boasting today of our Carthaginian ancestry. To maintain that whim, that accident, hence the individual, play no part, is folly. Yet each time we envisage the future as a totality, the verdict of the Mahahharata invariably comes to mind: "The knot of Destiny cannot be untied; nothing in this world is the result of our actions."
History in slow motion has inexorably been replaced by history out of breath. Institutions, societies, civilizations differ in duration and significance, yet all are subject to one and the same law, which decrees that the invincible impulse, the factor of their rise, must sag and settle after a certain time, this decadence corresponding to a slackening of that energizer which is...delirium. Compared with periods of expansion, of dementia really, those of decline seem sane and are so, are too much so鈥攚hich makes them almost as deadly as the others.
Historical time is so tense, so strained, that it is hard to see how it can keep from exploding. At each of its moments it gives the impression that it is on the point of breaking.
Nothing makes us modest, not even the sight of a corpse.
I have always been attracted by lost causes, by individuals without a hope of success, whose follies I have espoused until I suffer from them almost as much as they do.
I do not struggle against the world, I struggle against a greater force, against my weariness of the world.
I try to oppose the interest I take in her, I imagine her eyes, her cheeks, her nose, her lips in a high state of putrefaction. No help for it: the indefinable element she releases persists. It is in such moments that one understands why life has managed to sustain itself, in spite of Knowledge.
Does he tend to wend the same groove? Is his bile, at sixty, a touch less deliriously effervescent, a shade more risible, than when he was a Romanian stripling yearning for the void from Transylvanian thickets? Does such as his mistaken belief that the Communist world would outlast an enervated West lay bare the veils and glamours through which his raking eye was (self-)deceived? Sure. But with his gorgeous tongue, I say let the man have his blasphemous gall, let him inspiritingly rail, let him prune humanity's shrubs. It's not like contentment or happiness is mandatory.
September 6, 2021
丕賳丕 賯丕丿賲 賲賳 亘賯毓丞 賷賰丕丿 賷賱鬲夭賲 賮賷賴丕 丕賱噩賲賷毓 亘鬲噩丕賵夭 丕賱丨丿賵丿 賵廿爻丕亍丞 丕賱兀丿亘 賵丕賱亘賵丨 賵丕賱丕毓鬲乇丕賮 丕賱賮賵乇賷 丕賱賲噩丕賳賷 睾賷乇 丕賱賲丨鬲卮賲. 亘賯毓丞 賷毓乇賮 賮賷賴丕 丕賱噩賲賷毓 賰賱 卮賷亍 毓賳 丕賱噩賲賷毓 賵鬲鬲禺匕 賮賷賴丕 丕賱丨賷丕丞 丕賱賲卮鬲乇賰丞 賴賷卅丞 賰乇爻賷 丕毓鬲乇丕賮 毓賲賵賲賷 丨賷孬 丕賱爻乇 鬲丨丿賷丿賸丕 丕賲乇 賱丕 賷賲賰賳 鬲禺賷賱賴貙 賵丨賷孬 鬲賮囟賷 丕賱孬乇孬乇丞 廿賱賶 丕賱賴匕賷丕賳.
December 19, 2022
G眉zeldi ama bir 脟眉r眉menin Kitab谋 de臒ildi.
December 29, 2017
This is my 4th cioran book, and I鈥檓 picking up on some common themes across his writings. i'm also realizing that no other writer i've read has expressed pessimism as deeply or as expressively as he did.
For cioran, life is unbearable. the awareness that life is unbearable makes it even moreso, so a certain amount of self-deception is necessary to survive. Ultimately, what we do or think doesn鈥檛 matter, in the grand scheme of things, and this gives him some comfort in the same way that I am comforted by the knowledge that the universe will end one day, but it doesn鈥檛 do much to alleviate our suffering in the present. Suicide is no solution, because 鈥渙ne always kills oneself too late.鈥� Neither is hatred, although cioran鈥檚 writings abound with instances of disgust and sometimes violent fantasies towards himself and others. Compassion is too soft for him, smacks too much of humanism. All there is to do is suffer, and suffer greatly, sometimes with spite and sometimes with stoicism.
This dialectic of suffering and meaninglessness plays out again on a political level. He always includes essays about the scope of political history and nations, which always make me uneasy because of their flirtation with fascism. he laments the ongoing decline of western civilizations, which he observes in europe鈥檚 nihilistic decadence, indicated by its liberal humanist values, its cosmopolitanism, multiculturalism, and relativism. it's hard to read this dreck without recalling his past support of romania's fascist iron guard. although he quickly repudiated his support of the party, he seems to have never shook off the beliefs that induced him to fascism--the invocation of an ethnic or nationalist spirit of a people, race, or blood that guides them to glory; a yearning to violently return to that former glory; a disgust for liberal humanists and leftists; an inclination to mysticism. cioran (like many other nihilists & pessimists, actually) is always playing on the edge of fascism.
Ultimately, he concedes, nationalism is just another necessary illusion for life. It can鈥檛 be overcome, but it can鈥檛 be fully accepted, either, since the pursuit of meaning through national greatness is destined to result in failure. Examples abound in history: the success of every empire inevitably leads to its ruin. studying history should lead anyone to conclude that humanity bears a cursed and empty existence.
鈥渨e cherish our anathemas, greedy for what pulverizes us; not for anything would we renounce our own nightmare to which we have assigned as many capital letters as we have known illusions. these illusions have been discredited, like the capital letters, but the nightmare remains, decapitated and naked, and we continue to love it precisely because it is ours and because we do not see what to replace it by.
...
what is sure is that he is stricken in his depths, that he is rotten to the roots. moreover we do not feel ourselves to be truly men except when we become aware of this essential rottenness, partly masked hitherto but increasingly perceptible since man has exploded his own secrets. by dint of becoming transparent to himself, he can no longer undertake anything, 'create' anything, and this will be a dessication by insufficient blindness, by an extermination of naivete...he is rotten, yes, gangrenous, and all of us with him. we advance en masse toward a confusion without analogy, we shall rise up one against the other like convulsive defectives, like hallucinated puppets, because, everything having become impossible and unbreathable for us all, no one will deign to live except to liquidate and to liquidate himself. the sole frenzy we are still capable of is the frenzy of the end. then will come a supreme form of stagnation when, roles played, stage abandoned, we can ruminate the epilogue at leisure.鈥�
so we wait, in uneasy company, me and this creep cioran, to return to the nothingness from which we came. i don't think we would have gotten along. he is a beautiful stylist, though.
For cioran, life is unbearable. the awareness that life is unbearable makes it even moreso, so a certain amount of self-deception is necessary to survive. Ultimately, what we do or think doesn鈥檛 matter, in the grand scheme of things, and this gives him some comfort in the same way that I am comforted by the knowledge that the universe will end one day, but it doesn鈥檛 do much to alleviate our suffering in the present. Suicide is no solution, because 鈥渙ne always kills oneself too late.鈥� Neither is hatred, although cioran鈥檚 writings abound with instances of disgust and sometimes violent fantasies towards himself and others. Compassion is too soft for him, smacks too much of humanism. All there is to do is suffer, and suffer greatly, sometimes with spite and sometimes with stoicism.
This dialectic of suffering and meaninglessness plays out again on a political level. He always includes essays about the scope of political history and nations, which always make me uneasy because of their flirtation with fascism. he laments the ongoing decline of western civilizations, which he observes in europe鈥檚 nihilistic decadence, indicated by its liberal humanist values, its cosmopolitanism, multiculturalism, and relativism. it's hard to read this dreck without recalling his past support of romania's fascist iron guard. although he quickly repudiated his support of the party, he seems to have never shook off the beliefs that induced him to fascism--the invocation of an ethnic or nationalist spirit of a people, race, or blood that guides them to glory; a yearning to violently return to that former glory; a disgust for liberal humanists and leftists; an inclination to mysticism. cioran (like many other nihilists & pessimists, actually) is always playing on the edge of fascism.
Ultimately, he concedes, nationalism is just another necessary illusion for life. It can鈥檛 be overcome, but it can鈥檛 be fully accepted, either, since the pursuit of meaning through national greatness is destined to result in failure. Examples abound in history: the success of every empire inevitably leads to its ruin. studying history should lead anyone to conclude that humanity bears a cursed and empty existence.
鈥渨e cherish our anathemas, greedy for what pulverizes us; not for anything would we renounce our own nightmare to which we have assigned as many capital letters as we have known illusions. these illusions have been discredited, like the capital letters, but the nightmare remains, decapitated and naked, and we continue to love it precisely because it is ours and because we do not see what to replace it by.
...
what is sure is that he is stricken in his depths, that he is rotten to the roots. moreover we do not feel ourselves to be truly men except when we become aware of this essential rottenness, partly masked hitherto but increasingly perceptible since man has exploded his own secrets. by dint of becoming transparent to himself, he can no longer undertake anything, 'create' anything, and this will be a dessication by insufficient blindness, by an extermination of naivete...he is rotten, yes, gangrenous, and all of us with him. we advance en masse toward a confusion without analogy, we shall rise up one against the other like convulsive defectives, like hallucinated puppets, because, everything having become impossible and unbreathable for us all, no one will deign to live except to liquidate and to liquidate himself. the sole frenzy we are still capable of is the frenzy of the end. then will come a supreme form of stagnation when, roles played, stage abandoned, we can ruminate the epilogue at leisure.鈥�
so we wait, in uneasy company, me and this creep cioran, to return to the nothingness from which we came. i don't think we would have gotten along. he is a beautiful stylist, though.
February 23, 2011
I read Cioran since I was like 9. Gets better with time.
September 26, 2024
Vier pessimistische essays over het einde van de geschiedenis / mensheid, gevolgd door een hele reeks aforismen. Allemaal van wisselende kwaliteit. (eerste leesbeurt augustus 2020, 3/5)
Tweede leesbeurt:
"Gevierendeeld" was vier jaar geleden mijn eerste kennismaking met Cioran en ik was maar matig onder de indruk. Nu ik al wat van zijn ander werk gelezen heb, was dit het herlezen zeker waard. De essays waren wat makkelijker verteerbaar, vooral het derde en het vierde - over het einde van de geschiedenis en de posthistorische mens - zijn de moeite, en bij de aforismen apprecieer ik de humor, de ironie en de spot veel meer dan tijdens de eerste leesbeurt. Geen uitgewerkt systeem maar gedachteflitsen, idee毛n en anekdotes, een soort autobiografische anti-filosofie geschreven door een fantastische stilist, vol tegenstellingen en paradoxen, maar daardoor net interessant. Ciorans obsessie voor twijfel, de tijd, verval, leegte, wanhoop, extase, geschiedenis, ... blijft fascinerend. 4/5!
"Jubelen, in welke vorm dan ook, leidt in uiteenlopende mate tot migraine, misselijkheid of iets even erbarmelijks, even vernederends."
"De cirkel van de Hel met de minste mensen maar de grootste kwellingen moet die zijn waarin men de Tijd geen moment kan vergeten."
"Zodra je de straat opgaat en er mensen in je blikveld komen, is uitroeiing het eerste woord dat bij je opkomt."
"In de Jardin des Plantes heb ik langdurig gekeken naar de ogen van een alligator, naar zijn oeroude blik. Wat me in reptielen aantrekt is hun ondoordringbare versuffing, hun verwantschap met de stenen: je zou zeggen dat ze van voor het leven zijn, dat ze eraan voorafgingen zonder het aan te kondigen, dat ze het ontvluchtten zelfs..."
Tweede leesbeurt:
"Gevierendeeld" was vier jaar geleden mijn eerste kennismaking met Cioran en ik was maar matig onder de indruk. Nu ik al wat van zijn ander werk gelezen heb, was dit het herlezen zeker waard. De essays waren wat makkelijker verteerbaar, vooral het derde en het vierde - over het einde van de geschiedenis en de posthistorische mens - zijn de moeite, en bij de aforismen apprecieer ik de humor, de ironie en de spot veel meer dan tijdens de eerste leesbeurt. Geen uitgewerkt systeem maar gedachteflitsen, idee毛n en anekdotes, een soort autobiografische anti-filosofie geschreven door een fantastische stilist, vol tegenstellingen en paradoxen, maar daardoor net interessant. Ciorans obsessie voor twijfel, de tijd, verval, leegte, wanhoop, extase, geschiedenis, ... blijft fascinerend. 4/5!
"Jubelen, in welke vorm dan ook, leidt in uiteenlopende mate tot migraine, misselijkheid of iets even erbarmelijks, even vernederends."
"De cirkel van de Hel met de minste mensen maar de grootste kwellingen moet die zijn waarin men de Tijd geen moment kan vergeten."
"Zodra je de straat opgaat en er mensen in je blikveld komen, is uitroeiing het eerste woord dat bij je opkomt."
"In de Jardin des Plantes heb ik langdurig gekeken naar de ogen van een alligator, naar zijn oeroude blik. Wat me in reptielen aantrekt is hun ondoordringbare versuffing, hun verwantschap met de stenen: je zou zeggen dat ze van voor het leven zijn, dat ze eraan voorafgingen zonder het aan te kondigen, dat ze het ontvluchtten zelfs..."
December 3, 2017
"Esistere 猫 un plagio"
Giunta a pagina settantacinque su centosettantasette ho un'urgenza di stellinatura. Procedo con l'operazione.
Visto che ci sono, qualche minuto dopo, riporto uno dei trenta passaggi che vorrei trascrivere. Questo:
"Quello che ci rovina, no, quello che ci ha rovinati, 猫 la sete di un destino, di un destino qualunque; e se questa debolezza, chiave del divenire storico, ci ha distrutti, ci ha annientati, nello stesso tempo ci avr脿 salvati, dandoci il gusto della rovina, il desiderio di un avvenimento che superasse tutti gli avvenimenti, di una paura che superasse tutte le paure. Dato che la catastrofe 猫 l'unica soluzione, e la post-storia, nell'ipotesi che possa seguire ad essa, l'unico sbocco, l'unica possibilit脿 鈥� 猫 lecito chiedersi se l'umanit脿 quale essa 猫 non avrebbe interesse a cancellarsi adesso piuttosto che estenuarsi e afflosciarsi nell'attesa, esponendosi ad un'era di agonia in cui rischierebbe di perdere ogni ambizione, anche quella di sparire".
Aggiungo due righe per riprendere coscienza e procedere serena (!) obbligandomi a ricordare che, quando si parla di Cioran, per definire 'catastrofe' e 'cancellazione' si pu貌 comodamente attingere alla mistica, anzi, si deve. Il che rende pi霉 che plausibile la riconciliazione tra atteggiamento antistorico e disposizione storica. E mi risolve un fastidiosissimo senso di appagamento fisico a prescindere, qualsiasi pronunciamento accompagni le irruzioni del Solitario nei miei giorni.
Continuo a leggere. A pagina ottantasei trovo questo:
"Ci貌 che non si pu貌 tradurre in termini di mistica non merita di essere vissuto".
Giunta a pagina settantacinque su centosettantasette ho un'urgenza di stellinatura. Procedo con l'operazione.
Visto che ci sono, qualche minuto dopo, riporto uno dei trenta passaggi che vorrei trascrivere. Questo:
"Quello che ci rovina, no, quello che ci ha rovinati, 猫 la sete di un destino, di un destino qualunque; e se questa debolezza, chiave del divenire storico, ci ha distrutti, ci ha annientati, nello stesso tempo ci avr脿 salvati, dandoci il gusto della rovina, il desiderio di un avvenimento che superasse tutti gli avvenimenti, di una paura che superasse tutte le paure. Dato che la catastrofe 猫 l'unica soluzione, e la post-storia, nell'ipotesi che possa seguire ad essa, l'unico sbocco, l'unica possibilit脿 鈥� 猫 lecito chiedersi se l'umanit脿 quale essa 猫 non avrebbe interesse a cancellarsi adesso piuttosto che estenuarsi e afflosciarsi nell'attesa, esponendosi ad un'era di agonia in cui rischierebbe di perdere ogni ambizione, anche quella di sparire".
Aggiungo due righe per riprendere coscienza e procedere serena (!) obbligandomi a ricordare che, quando si parla di Cioran, per definire 'catastrofe' e 'cancellazione' si pu貌 comodamente attingere alla mistica, anzi, si deve. Il che rende pi霉 che plausibile la riconciliazione tra atteggiamento antistorico e disposizione storica. E mi risolve un fastidiosissimo senso di appagamento fisico a prescindere, qualsiasi pronunciamento accompagni le irruzioni del Solitario nei miei giorni.
Continuo a leggere. A pagina ottantasei trovo questo:
"Ci貌 che non si pu貌 tradurre in termini di mistica non merita di essere vissuto".
December 21, 2020
賯亘賱 賰賱 卮賷亍 鬲噩丿乇 丕賱丕卮丕乇丞 廿賱賶 兀賳 賴匕丕 丕賱賰鬲丕亘 賱賲賱賰 丕賱鬲卮丕丐賲 爻賷賵乇丕賳 賷禺鬲賱賮 毓賳 胤亘賷毓丞 丕賱賰鬲丕亘賷賳 丕賱匕賷賳 爻亘賯 兀賳 賯乇兀鬲賴賲丕 賵賴賵賲丕 : "丕毓鬲乇丕賮丕鬲 賵賱毓賳丕鬲" 賵 "丕賱賲賷丕賴 賰賱賾賴丕 亘賱賵賳 丕賱睾乇賯" 貙 賮賷賲丕 賰丕賳丕 丕賱兀賵賾賱賷賳 毓亘丕乇丞 毓賳 丕賯鬲亘丕爻丕鬲 賵 兀賮賰丕乇 賲鬲賮乇賾賯丞 氐丿乇鬲 毓賳 爻賷賵乇丕賳貙 廿賱丕 兀賳 賴匕丕 丕賱賰鬲丕亘 鬲賳丕賵賱 毓丿賾丞 卮禺氐賷賾丕鬲 匕丕毓 氐賷鬲賴丕 賮賷 丕賱賲噩丕賱賷賳 丕賱兀丿亘賷 賵丕賱賮賱爻賮賷 毓賲賵賲丕貙 賳匕賰乇 毓賱賶 爻亘賷賱 丕賱賲孬丕賱 賱丕 丕賱丨氐乇 : 亘賷賰賷鬲貙 亘賵乇禺賷爻貙 賮賷鬲夭噩賷乇丕賱丿貙睾賷丿賵 卮賷乇賵賳賷鬲賾賷 ...
賱丕 兀毓乇賮 廿賱賶 兀賷 賲丿賶 丕爻鬲賲鬲毓鬲 丕賱卮禺氐賷丕鬲 丕賱孬賯丕賮賷丞 丕賱鬲賷 賰丕賳鬲 賱丕 鬲夭丕賱 毓賱賶 賯賷丿 丕賱丨賷丕丞 毓賳丿賲丕 賳卮乇 爻賷賵乇丕賳 賴匕丕 丕賱賰鬲丕亘 丕賱匕賷 賷丨鬲賵賷 毓賱賶 毓丿丞 賲賯丕賱丕鬲 "毓賳 丕賱爻賷乇丞 丕賱匕丕鬲賷丞" 廿賱賶 丨丿 賲丕貙 賱兀賳賴 毓賳丿賲丕 賷亘丿兀 爻賷賵乇丕賳 賲賳 賮乇囟賷丞 "鬲賲丕乇賷賳 賮賷 丕賱廿毓噩丕亘" 賷氐賱 丿丕卅賲丕貙 賮賷 噩賲賷毓 丕賱丨丕賱丕鬲 鬲賯乇賷亘丕貙 廿賱賶 鬲賲乇賷賳 賮賷 丕賱賳賯丿 丕賱匕丕鬲賷貙 丨鬲賶 賱賵 賰丕賳 兀賳賷賯丕 賵賲賳胤賯賷丕 (兀賵!)貙 賱賰賳賴 賱丕賷夭丕賱 賳賯丿丕 ..
亘丕賱鬲兀賰賷丿貙 賮賷 兀爻賱賵亘賴 丕賱賲賲賷夭貙 賱丕 賷卮毓乇 丕賱賲丐賱賾賮 亘丕賱丨乇噩 賮賷 賯賵賱 賲丕 賷賮賰賾乇 賮賷賴 亘丕賱囟亘胤 丨賵賱 丨賷丕丞 賵 / 兀賵 賲賴賳丞 卮禺氐賷丞 賲毓賷賳丞貙 爻賵丕亍 賰丕賳鬲 賲鬲賵賮丕丞 (賰: 丿賵 賲賷爻鬲乇貙 賮丕賱賷乇賷 兀賵 爻賰賵鬲 賮賷鬲夭噩賷乇丕賱丿)貙 兀賵 賱丕 賷夭丕賱 毓賱賶 賯賷丿 丕賱丨賷丕丞 (賰: 廿賱賷丕丿貙 亘賵乇禺賷爻 兀賵 亘賷賰賷鬲) .. 賲賳 丕賱賵丕囟丨 兀賳賾賴 賱丕 賷賵噩丿 兀賷 卮賰 賮賷 兀賳 爻賷賵乇丕賳 賱賲 賷睾賾賷乇 賵賱賵 賲噩乇賾丿 賰賱賲丞 賮賷 賳賯丿賴 兀賵 鬲賲噩賷丿賴 賱賱卮賾禺氐賷丕鬲 丕賱鬲賷 匕賰乇賴丕貙 賵賱丕 丨鬲賶 賮賷 丨丕賱丞 兀賵賱卅賰 丕賱匕賷賳 賷毓鬲亘乇賴賲 兀氐丿賯丕亍賴貙 賲孬賱 賲賷卮賵 兀賵 亘賷賰賷鬲 (賲乇賾丞 兀禺乇賶)貙 賵賲毓 匕賱賰貙 賮廿賳 丕賱丨賯賷賯丞 丕賱亘爻賷胤丞 丕賱賲鬲賲孬賱丞 賮賷 兀賳 廿賷賲賷賱 毓亘賾乇 毓賳 兀賮賰丕乇 賲毓賷賾賳丞 丨賵賱 賴丐賱丕亍 丕賱兀卮禺丕氐 鬲賳亘毓 兀賷囟丕 賲賳 丕賴鬲賲丕賲 禺丕氐貙 賳丕鬲噩 毓賳 鬲兀孬賷乇 (兀賰亘乇 兀賵 兀賯賱) 賰丕賳 賱兀賷 賲賳賴賲 毓賱賶 丕賱賮賷賱爻賵賮 丕賱乇賵賲丕賳賷 .. 賵賲賳 賲賳馗賵乇 "爻賷賵乇丕賳賷"貙 賷購胤賱賯 毓賱賶 賴匕丕 丕賱賳賴噩 丕爻賲 "丕賱廿毓噩丕亘" ..
"廿賳賾 賲賳 丕賱噩賳賵賳 丕賱丕毓鬲賯丕丿 兀賳賾 丕賱丨賯賷賯丞 鬲賰賲賳 賮賷 丕賱丕禺鬲賷丕乇 賮賷 丨賷賳 兀賳 賰賱 賲賵賯賮 賳鬲賾禺匕賴 賷爻丕賵賷 丕丨鬲賯丕乇丕 賱賱丨賯賷賯丞"
賱丕 兀毓乇賮 廿賱賶 兀賷 賲丿賶 丕爻鬲賲鬲毓鬲 丕賱卮禺氐賷丕鬲 丕賱孬賯丕賮賷丞 丕賱鬲賷 賰丕賳鬲 賱丕 鬲夭丕賱 毓賱賶 賯賷丿 丕賱丨賷丕丞 毓賳丿賲丕 賳卮乇 爻賷賵乇丕賳 賴匕丕 丕賱賰鬲丕亘 丕賱匕賷 賷丨鬲賵賷 毓賱賶 毓丿丞 賲賯丕賱丕鬲 "毓賳 丕賱爻賷乇丞 丕賱匕丕鬲賷丞" 廿賱賶 丨丿 賲丕貙 賱兀賳賴 毓賳丿賲丕 賷亘丿兀 爻賷賵乇丕賳 賲賳 賮乇囟賷丞 "鬲賲丕乇賷賳 賮賷 丕賱廿毓噩丕亘" 賷氐賱 丿丕卅賲丕貙 賮賷 噩賲賷毓 丕賱丨丕賱丕鬲 鬲賯乇賷亘丕貙 廿賱賶 鬲賲乇賷賳 賮賷 丕賱賳賯丿 丕賱匕丕鬲賷貙 丨鬲賶 賱賵 賰丕賳 兀賳賷賯丕 賵賲賳胤賯賷丕 (兀賵!)貙 賱賰賳賴 賱丕賷夭丕賱 賳賯丿丕 ..
亘丕賱鬲兀賰賷丿貙 賮賷 兀爻賱賵亘賴 丕賱賲賲賷夭貙 賱丕 賷卮毓乇 丕賱賲丐賱賾賮 亘丕賱丨乇噩 賮賷 賯賵賱 賲丕 賷賮賰賾乇 賮賷賴 亘丕賱囟亘胤 丨賵賱 丨賷丕丞 賵 / 兀賵 賲賴賳丞 卮禺氐賷丞 賲毓賷賳丞貙 爻賵丕亍 賰丕賳鬲 賲鬲賵賮丕丞 (賰: 丿賵 賲賷爻鬲乇貙 賮丕賱賷乇賷 兀賵 爻賰賵鬲 賮賷鬲夭噩賷乇丕賱丿)貙 兀賵 賱丕 賷夭丕賱 毓賱賶 賯賷丿 丕賱丨賷丕丞 (賰: 廿賱賷丕丿貙 亘賵乇禺賷爻 兀賵 亘賷賰賷鬲) .. 賲賳 丕賱賵丕囟丨 兀賳賾賴 賱丕 賷賵噩丿 兀賷 卮賰 賮賷 兀賳 爻賷賵乇丕賳 賱賲 賷睾賾賷乇 賵賱賵 賲噩乇賾丿 賰賱賲丞 賮賷 賳賯丿賴 兀賵 鬲賲噩賷丿賴 賱賱卮賾禺氐賷丕鬲 丕賱鬲賷 匕賰乇賴丕貙 賵賱丕 丨鬲賶 賮賷 丨丕賱丞 兀賵賱卅賰 丕賱匕賷賳 賷毓鬲亘乇賴賲 兀氐丿賯丕亍賴貙 賲孬賱 賲賷卮賵 兀賵 亘賷賰賷鬲 (賲乇賾丞 兀禺乇賶)貙 賵賲毓 匕賱賰貙 賮廿賳 丕賱丨賯賷賯丞 丕賱亘爻賷胤丞 丕賱賲鬲賲孬賱丞 賮賷 兀賳 廿賷賲賷賱 毓亘賾乇 毓賳 兀賮賰丕乇 賲毓賷賾賳丞 丨賵賱 賴丐賱丕亍 丕賱兀卮禺丕氐 鬲賳亘毓 兀賷囟丕 賲賳 丕賴鬲賲丕賲 禺丕氐貙 賳丕鬲噩 毓賳 鬲兀孬賷乇 (兀賰亘乇 兀賵 兀賯賱) 賰丕賳 賱兀賷 賲賳賴賲 毓賱賶 丕賱賮賷賱爻賵賮 丕賱乇賵賲丕賳賷 .. 賵賲賳 賲賳馗賵乇 "爻賷賵乇丕賳賷"貙 賷購胤賱賯 毓賱賶 賴匕丕 丕賱賳賴噩 丕爻賲 "丕賱廿毓噩丕亘" ..
"廿賳賾 賲賳 丕賱噩賳賵賳 丕賱丕毓鬲賯丕丿 兀賳賾 丕賱丨賯賷賯丞 鬲賰賲賳 賮賷 丕賱丕禺鬲賷丕乇 賮賷 丨賷賳 兀賳 賰賱 賲賵賯賮 賳鬲賾禺匕賴 賷爻丕賵賷 丕丨鬲賯丕乇丕 賱賱丨賯賷賯丞"
April 19, 2022
Cioran lo squartatore
Cioran Il filosofo squartatore, il metafisico solitario, il nichilista cinico; rumeno per nascita ma francese di adozione, ad un certo punto sceglier脿 la lingua francese per scrivere le sue opere, lingua estremamente adatta al parlare filosofico.
Squartamento 猫 un breve saggio che sembra scritto per oggi, per questo pianeta babilonizzato dove si 猫 perso il senso del silenzio e il frastuono (oggi anche delle bombe), il chiacchiericcio, l'opinione sovrasta e nasconde la verit脿, l'opinione... solo uno dei tanti punti di vista gettati sulla realt脿.
Saggio che possiede una capacit脿 predittiva sorprendente, anticipa, ben 40 anni prima, il senso di fine, di totale incertezza di questi giorni cupi.
Secondo Cioran la storia ha raggiunto il suo culmine perch茅 l'uomo ormai ha dato il meglio di s茅 e anche se si dovesse assistere alla comparsa di altre civilt脿, non avranno mai il valore di quelle antiche e moderne.
La fine della storia 猫 inesorabile, e la post-storia si presenter脿 come una versione peggiorata della preistoria.
Inutile affannarsi, meglio accelerare la catastrofe per evitare la lunga agonia, piuttosto che estenuarsi e afflosciarsi nell'attesa.
La visione di Cioran squarta un mondo gi脿 di per s茅 squartato dove il sentimento del male attira infinitamente pi霉 del sommo bene.
Cioran assetato di assoluto in un mondo in cui la riserva di assoluto 猫 quasi agli sgoccioli.
Cioran idolatra del dubbio, ondivago, ci getta una corda, ci tende una mano per poi abbandonarci verso un nichilismo quasi mistico perch茅 vuoto e senza oggetto, non il nichilismo dei russi, non quello del buddismo che ha come ultimo scopo la liberazione dall'esistenza, il nichilismo di Cioran 猫 senza condizioni, unico chiarore che si permette 猫 una vena di ironia che renda l'esistenza pi霉 accettabile.
La seconda parte del saggio 猫 un aforismario.
Il genere aforisma condensa in poche lapidarie parole distillati di verit脿, di saggezza, di esperienza.
Brevi epigrammi, alcuni ficcanti, brillanti, ognuno trover脿 i propri in cui riconoscersi.
Ne ho sottolineati e salvati moltissimi, ricordando che
Si pu貌 essere contenti di s茅 solo quando si ricordano quegli istanti in cui, secondo l'espressione giapponese, si 猫 percepito l'Ah! delle cose
Verissimo, credo, ma dubito cio猫 spero che, sebbene con una certa fatica, a volte mi succeda, di avere percepito l'Ah delle cose, come l'Ah di questo libro, ch茅 un libro deve frugare nelle ferite, anzi deve provocarle. Un libro deve essere un pericolo. Grazie per averlo incontrato sul mio sentiero, giacch茅 la filosofia 猫 il mio secondo amore.
Cioran Il filosofo squartatore, il metafisico solitario, il nichilista cinico; rumeno per nascita ma francese di adozione, ad un certo punto sceglier脿 la lingua francese per scrivere le sue opere, lingua estremamente adatta al parlare filosofico.
Squartamento 猫 un breve saggio che sembra scritto per oggi, per questo pianeta babilonizzato dove si 猫 perso il senso del silenzio e il frastuono (oggi anche delle bombe), il chiacchiericcio, l'opinione sovrasta e nasconde la verit脿, l'opinione... solo uno dei tanti punti di vista gettati sulla realt脿.
Saggio che possiede una capacit脿 predittiva sorprendente, anticipa, ben 40 anni prima, il senso di fine, di totale incertezza di questi giorni cupi.
Secondo Cioran la storia ha raggiunto il suo culmine perch茅 l'uomo ormai ha dato il meglio di s茅 e anche se si dovesse assistere alla comparsa di altre civilt脿, non avranno mai il valore di quelle antiche e moderne.
La fine della storia 猫 inesorabile, e la post-storia si presenter脿 come una versione peggiorata della preistoria.
Inutile affannarsi, meglio accelerare la catastrofe per evitare la lunga agonia, piuttosto che estenuarsi e afflosciarsi nell'attesa.
La visione di Cioran squarta un mondo gi脿 di per s茅 squartato dove il sentimento del male attira infinitamente pi霉 del sommo bene.
Cioran assetato di assoluto in un mondo in cui la riserva di assoluto 猫 quasi agli sgoccioli.
Cioran idolatra del dubbio, ondivago, ci getta una corda, ci tende una mano per poi abbandonarci verso un nichilismo quasi mistico perch茅 vuoto e senza oggetto, non il nichilismo dei russi, non quello del buddismo che ha come ultimo scopo la liberazione dall'esistenza, il nichilismo di Cioran 猫 senza condizioni, unico chiarore che si permette 猫 una vena di ironia che renda l'esistenza pi霉 accettabile.
La seconda parte del saggio 猫 un aforismario.
Il genere aforisma condensa in poche lapidarie parole distillati di verit脿, di saggezza, di esperienza.
Brevi epigrammi, alcuni ficcanti, brillanti, ognuno trover脿 i propri in cui riconoscersi.
Ne ho sottolineati e salvati moltissimi, ricordando che
Si pu貌 essere contenti di s茅 solo quando si ricordano quegli istanti in cui, secondo l'espressione giapponese, si 猫 percepito l'Ah! delle cose
Verissimo, credo, ma dubito cio猫 spero che, sebbene con una certa fatica, a volte mi succeda, di avere percepito l'Ah delle cose, come l'Ah di questo libro, ch茅 un libro deve frugare nelle ferite, anzi deve provocarle. Un libro deve essere un pericolo. Grazie per averlo incontrato sul mio sentiero, giacch茅 la filosofia 猫 il mio secondo amore.
March 26, 2021
"The more power man acquires, the more vulnerable he becomes. What he must fear most is the moment when, creation entirely fleeced, he will celebrate his triumph, that fatal apotheosis, the victory the he will not survive. Most likely he will disappear before having realized all his ambitions. He is so powerful already that we wonder hey he aspires to be more so. So much insatiability betrays a wretchedness without recourse, a magisterial failure. Plants and creatures bear upon themselves the mark of salvation, as man those of perdition. This is true of each of us, of the Race as a whole, dazzled and crushed by the brilliance of the Incurable. Which is perpetuated through the nations, doomed to servitude by the simple automatism of becoming."
July 14, 2024
賲鬲毓丞 禺丕賱氐丞貨 賲賯丕賱丕鬲 賵賳氐賵氐 賲鬲賮乇賯丞 賰鬲亘賴丕 爻賷賵乇丕賳 毓賳 賲毓丕氐乇賷賴 賲賳 丕賱賰鬲丕亘 賵丕賱兀丿亘丕亍貙 兀亘丿毓賴丕 毓賳丿賷 賴賵 丕賱賳氐 丕賱禺丕氐 亘丕賱乇賲丕丿賷 丕賱噩賲賷賱 丕賱丌禺乇 爻丕賲賵賷賱 亘賷賰賷鬲.
賵賯亘賱 賳賴丕賷丞 丕賱賰鬲丕亘 賳氐 毓賳 兀賳孬賶 賲噩賴賵賱丞 丕賱丕爻賲貙 孬賲 賳氐 兀禺賷乇 毓賳 賵丕丨丿 賲賳 兀賵丕卅賱 賰鬲亘賴.
賵賯亘賱 賳賴丕賷丞 丕賱賰鬲丕亘 賳氐 毓賳 兀賳孬賶 賲噩賴賵賱丞 丕賱丕爻賲貙 孬賲 賳氐 兀禺賷乇 毓賳 賵丕丨丿 賲賳 兀賵丕卅賱 賰鬲亘賴.
February 23, 2021
Consciousness as a fatality.
Consciousness as a fatality is the overarching theme of the various essays and short epigrams constituting this book. Cioran criticizes the will to action and holds that it is ridiculous to want to do anything in this world. In his eyes, the will to action is a desperate attempt at concealing the only possible and absolute truth of life: death.
"[...]How would he go about describing our excesses, our demonic activities, the source of our dynamism?Would he comprehend our incapacity to elaborate a static vision of the world and to abide by it, to emancipate ourselves from the idea and the obsession of action?"
He contemplates and desires the vegetative state. The vegetative state, consistent of an accumulation of lacks, lack of ambition, lack of dynamism, of action and the frantic hysteria of the human animal. To him, the deviation from the vegetative state at the acquisition of consciousness was an irremediable step into the abyss.
"The abyss is in ourselves and outside ourselves, it is yesterday's presentiment, today's question, tomorrow's certainty."
The fall has yet to stop.
"Predestined to engulfment, we represent, in the drama of creation, the most spectacular and the most pitiable episode of all."
There is something humorous in any work by Cioran, a dark irony captured perfectly in his prose. While this book will undeniably spark an existential crisis, at least it will make you laugh along the way.
Consciousness as a fatality is the overarching theme of the various essays and short epigrams constituting this book. Cioran criticizes the will to action and holds that it is ridiculous to want to do anything in this world. In his eyes, the will to action is a desperate attempt at concealing the only possible and absolute truth of life: death.
"[...]How would he go about describing our excesses, our demonic activities, the source of our dynamism?Would he comprehend our incapacity to elaborate a static vision of the world and to abide by it, to emancipate ourselves from the idea and the obsession of action?"
He contemplates and desires the vegetative state. The vegetative state, consistent of an accumulation of lacks, lack of ambition, lack of dynamism, of action and the frantic hysteria of the human animal. To him, the deviation from the vegetative state at the acquisition of consciousness was an irremediable step into the abyss.
"The abyss is in ourselves and outside ourselves, it is yesterday's presentiment, today's question, tomorrow's certainty."
The fall has yet to stop.
"Predestined to engulfment, we represent, in the drama of creation, the most spectacular and the most pitiable episode of all."
There is something humorous in any work by Cioran, a dark irony captured perfectly in his prose. While this book will undeniably spark an existential crisis, at least it will make you laugh along the way.
March 26, 2024
"Non ha venduto l'anima all'Idea, ha salvaguardato la sua esistenza unica mettendo l'esperienza dell'Insolubile al di sopra della riflessione su di esso [...].
脠 vero ai suoi occhi solo ci貌 che precede o segue il detto, solo il verbo sottratto agli intralci dell' espressione, o, come dice magnificamente, 'la palabra liberada del linguaje' ".
Su Mar铆a Zambrano
脠 vero ai suoi occhi solo ci貌 che precede o segue il detto, solo il verbo sottratto agli intralci dell' espressione, o, come dice magnificamente, 'la palabra liberada del linguaje' ".
Su Mar铆a Zambrano
October 13, 2020
脟ok ciddi ve par莽alay谋c谋 bir insan ele艧tirisi.
Kendi bak谋艧 a莽谋s谋ndan g枚r眉p de臒erlendirdi臒i;
Cezal谋 olarak geldi臒i gezegende hi莽 de g枚z dolduramayan, bencil, h谋rsl谋, etrafa ve do臒aya inan谋lamayacak zararlar vererek kendini ve t眉m varl谋klar谋 cendereye sokan, tanr谋 d眉艧k眉nl眉臒眉n眉 riakarl谋臒a vard谋ran, kendine ve mutlulu臒una yabanc谋la艧m谋艧, ak谋l ve ger莽ek ile uyumsuz, kendi sonunu g枚remeyecek kadar budala, her t眉rl眉 varolu艧u k谋skanan, 眉st眉nl眉k m眉ptelas谋, doyumsuz ve panik insan锟斤拷n ipini pazara 莽谋kar谋yor.
Zavall谋, himayeye muhta莽, yapt谋臒谋 k枚t眉l眉klere ho艧g枚r眉 bekleyen bu ac谋nas谋 varl谋臒谋n ancak yok oldu臒unda dengeye ve huzura erebilece臒ini anlatmaya 莽al谋艧谋yor.
Geldi臒imiz nokta itibar谋 ile s枚ylediklerinde hi莽 de haks谋z say谋lmaz.
Kitaptan sevdi臒im al谋nt谋lar:
陌nsan; s眉rg眉n 枚ncesi, saf谋n谋 se莽me aczi ve karars谋zl谋kla bocalaman谋n 眉r眉n眉 olarak ortaya 莽谋km谋艧t谋r.
Se莽im yapmay谋 枚臒rensin diye g枚nderildi臒i yery眉z眉nde, eyleme ve maceraya mahkum olacak, ve i莽indeki seyirciyi bast谋rd谋臒谋 nispette temizlenebilecektir.
Se莽me ihtimalini bertaraf etti臒imiz, se莽ene臒i hatayla bir tuttu臒umuzda, ba臒lant谋s谋 olmayan insan saadetine yol al谋r谋z.
脺retmek talidir, as谋l nemli olan, insan谋n kendi zenginli臒ini 莽ekip kullanmas谋, hi莽 bir ifade bi莽imi 枚n眉nde e臒ilmeden tam olarak kendisi olmas谋d谋r.
Antik Yunan ve Avrupa, a艧谋r谋ya ka莽an tanr谋 ve muadilleri t眉ketimi y眉z眉nden ve d枚n眉艧眉m tamahkarl谋臒谋 sonucu erken 枚len uygarl谋klara 枚rnektir.
Kendini ger莽ekle艧tirmi艧, h眉nerlerini kullan谋p harcam谋艧, yetene臒inin kaynaklar谋n谋 t眉ketmi艧 bir toplum olan Romal谋lar, art谋k bir艧ey yapmadan ya艧amay谋 arzulad谋lar, ancak b枚yle bir l眉ksleri yoktu ve barbarlar kitleler halinde harekete ge莽ti.
陌nsan谋 i莽sel ve d谋艧sal olarak ay谋ran mistikler, ger莽ek varl谋k olarak birinciyi ye臒ler, ikinciyi kah ac谋kl谋, kah g眉l眉n莽 bir kukla olarak g枚r眉rler. Ahlak莽谋lar ise, hem tiksindikleri hem de cazibesine kap谋ld谋klar谋 d谋艧sal insan谋 bir yandan su莽larken di臒er yandan ortakl谋k yapar.
脰zdeyi艧ler; 艧aibeli bir tarz olsa da, 枚l莽眉l眉 olma terbiyesidir. 陌nsan谋 laf kalabal谋臒谋 m眉nasebetsizli臒inden kurtar谋r.
Ho艧g枚r眉; her ne kadar arzu edileni ve ya艧am谋, ya艧amaya de臒er k谋lan bir 艧eyse de, bir acizlik ve y谋k谋m belirtisi olarak da g枚r眉l眉r. O zamanki toplum ho艧g枚r眉l眉yd眉, 莽眉nk眉 bask谋 uygulamak, dolay谋s谋yla kendini devam ettirmek i莽in gerekli g眉莽ten kuvvetten yoksundu.
Has谋ma g枚sterilen l眉tufkarl谋k, g眉莽ten d眉艧m眉艧l眉臒眉n, yani ho艧g枚r眉n眉n en ay谋rt edici belirtisidir, 枚l眉m d枚艧e臒indekinin son kertedeki i艧vesinden ba艧ka bir 艧ey de臒ildir.
Kimsenin hizmet莽i olmaya tenezz眉l etmedi臒i bir toplum kaybolur gider.
Gayesi olan hi莽bir 艧ey cefa olarak g枚r眉lmez, sava艧莽谋 insanlar sava艧谋 cefa olarak g枚rmez.
Bug眉ne kadar hi莽bir toplum, ayn谋 zamanda hem siyasette, hem de dinde bilge olabilmenin s谋rr谋n谋 bulabilmi艧 de臒il.
Do臒ru olandan ziyade yeni ve yarat谋c谋 olan谋n pe艧ine d眉艧me, kullan谋艧l谋 olandan ziyade ho艧 g枚r眉neni sevme, tiyatroda anlamdan 莽ok oyuncunun ses ve v眉cudunu kullanmas谋na ilgi g枚sterme; ak谋ldan ziyade izlenimle karar vermedir.
Frans谋zlar devrimi, g枚steri艧莽iliklerinden yapm谋艧t谋. G枚steri艧 merak谋 tabiatlar谋na 枚ylesine i艧lemi艧ti ki, temel 枚zellikleri haline gelmi艧ti, 眉retmelerini, tav谋r almalar谋n谋 ve her艧eyden 枚nemlisi g枚z kama艧t谋rmalar谋n谋 sa臒layan g眉c眉n kayna臒谋nda hep bu vard谋.
Espri yani zekan谋n te艧hiri, her durumda mutlaka kar艧谋s谋ndakine 眉st眉n gelme, ne pahas谋na olursa olsun son s枚z眉 s枚yleme duygusu, hepsi bundan kaynaklan谋yordu.
Do臒ada bilin莽 d谋艧谋, insanda k谋smen, tanr谋larda ise g眉mb眉r g眉mb眉r, ifadesini bulan, doyurulmas谋 imkans谋z bir k枚t眉l眉k aray谋艧谋 vard谋r.
Bizler bizi tehdit edenlerle anla艧malar yapar, lanetlerimizi tedavi ederiz. Bizi mahveden 艧eylere kar艧谋 doymak bilmez bir a莽l谋k duyar谋z.
陌nsan tarihin faili, nesnesi, icrac谋s谋 ve kurban谋d谋r.
陌nsan, yaz谋l谋 olmayan b眉t眉n yasalar谋 ihlal ederek, -ki as谋l 枚nemli olan onlard谋r- kendisine tan谋nan t眉m s谋n谋rlar谋 a艧谋p, 枚ylesine y眉kselmi艧ti ki, tanr谋lar谋 k谋艧k谋rtmamas谋 m眉mk眉n de臒ildi.
T眉kenmi艧li臒inin doru臒unda, tarihin y眉k眉nden kurtulan insan, benzersiz olmaktan da feragat etti臒inde, elinde, hi莽bir 艧eyin dolduramayaca臒谋, bombo艧 bir bilin莽ten ba艧ka bir 艧ey kalmayacakt谋r.
Her艧ey, tarihin ve onunla beraber insan谋n da ge莽ip gidece臒ini g枚steriyor.
Sonumuz dokunma mesafesinde, sonun geli艧ini h谋zland谋rmak i莽in, yukar谋n谋n yard谋m谋na da ihtiyac谋m谋z yok.
陌nsan, kudretine mefhun 艧ekilde, do臒ay谋 hi莽e say谋p, ayaklar alt谋nda eziyor, 莽枚k眉nt眉ye s眉r眉kl眉yor, do臒an谋n ta艧谋mas谋n谋n m眉mk眉n olmad谋臒谋, i臒ren莽 ve trajik bir ke艧meke艧 yarat谋yor.
陌艧ledi臒i a臒谋r su莽lardan 枚t眉r眉, insan谋n kendisi k枚leli臒e s眉r眉klenmeli ve rezil olmal谋yd谋.
En 莽ok da hayvanlara kinleniyoruz, dilsizliklerini ellerinden almak, onlar谋 s枚zel hale d枚nd眉rmek, s枚z眉n al莽akl谋臒谋na maruz b谋rakmak i莽in neler vermezdik. 脺zerine d眉艧眉n眉lmeyen, varolu艧un, 枚ylesine varolu艧un cazibesi bize yasak oldu臒undan, buna mazhar olup zevkini 莽谋karanlara da tahamm眉l edemiyor, maceram谋za kay谋ts谋z, sere serpe ya艧ayanlara h谋rsla sald谋r谋yoruz. Tanr谋lar谋n kudretinin s谋rr谋na n眉fus ettiysek de, huzurlar谋n谋n s谋rr谋na vak谋f olamad谋k.
陌nsan谋n tehlikeli refah谋n谋n d眉sturu olan panik, onu 枚ylesine ele ge莽irip, belirler hale gelmi艧tir ki, pani臒ini elinden almaya kalksan谋z an谋nda can verir.
Okurun i艧ini kolayla艧t谋rmak hatad谋r. O, anlamaktan ho艧lanmaz, yerinde saymay谋, kuma bat谋p 莽谋kmay谋 sever, cezaland谋r谋lmaktan ho艧lan谋r. Ne dedi臒i anla艧谋lmayan yazar谋n itibar g枚rmesi bundand谋r.
Kitaplar yaralar谋 kanatmal谋, yeni yaralar a莽mal谋, tehlike arz etmelidir.
Ola臒an眉st眉l眉k merak谋 vasatl谋臒谋n temel niteli臒idir. (Diderot).
S枚yleyecek bir 艧eyi oldu臒u i莽in yazmaz insan, bir 艧ey s枚yleme arzusu duydu臒u i莽in yazar.
Var olmak intihaldir.
脺retemez olunca, ba艧kalar谋n谋n yapt谋臒谋 her艧eyi, ilhamdan ve parlak fikirden yoksun bulmaya ba艧lar谋z.
脰l眉m bir m眉kemmellik halidir.
Verdi臒imiz her tavize, o anda fark谋na varmad谋臒谋m谋z, i莽ten i莽e bir k眉莽眉lme e艧lik eder.
脟al谋艧mad谋臒谋 i莽in can谋 s谋k谋lan arkada艧谋ma, s谋k谋nt谋n谋n 眉st眉n bir hal oldu臒unu, 莽al谋艧ma fikriyle s谋k谋nt谋y谋 yan yana getirerek, s谋k谋nt谋y谋 a艧a臒谋lad谋臒谋n谋 s枚yl眉yorum.
Var olmak, hi莽 bir anlam谋 olmayan muazzam bir fenomendir.
Hi莽bir 艧ey olmad谋臒谋mda bile, bana her 艧ey fazla geliyor.
Hakikate kanaatlerle eri艧mek imkans谋zd谋r, zira, her kanaat ger莽ekli臒e dair meczup bir bak谋艧 a莽谋s谋ndan ba艧ka bir 艧ey de臒ildir.
R眉yada maktul oldu臒unu g枚rd眉kten sonra uyumak, katil oldu臒unu g枚rd眉kten sonra uyumaktan daha kolayd谋r.
Hi莽bir 艧ey tavazu sahibi yapm谋yor insan谋, ceset g枚rmek bile.
Birine kitap g枚ndermek, evinin kap谋s谋n谋 zorlamak gibidir, haneye tecav眉zd眉r, insan谋n sahip oldu臒u en kutsal 艧ey olan, yaln谋zl谋臒谋n谋 莽i臒nemek, onu sizin d眉艧眉ncelerinizi d眉艧眉ns眉n diye kendinden uzakla艧maya zorlamakt谋r.
Endi艧eli bir tela艧a s眉r眉klenmemenin en iyi yolu, sizden daha 莽ok tela艧a kap谋lm谋艧 biriyle g枚r眉艧mektir.
Olmak, mahsur kalmak demektir.
Ne bu d眉nya, ne 枚b眉r d眉nya, ne de mutluluk 艧眉pheye terk edilmi艧 insan i莽indir.
陌nsan dert 莽ekmeye adanm谋艧sa, kendi dertleri ne kadar b眉y眉k olursa olsun, asla yetmez, ba艧kalar谋n谋n dertlerine de at谋l谋r.
Umut etme iptilas谋, tedavi edilmedi臒i s眉rece, insan k枚ledir ve k枚le olarak kal谋r.
Cinsellik ciddi mesele. Ona teslim olmayan, ya garip, ya enkaz, ya da aziz muamelesi g枚r眉r.
Benim misyonum zaman 枚ld眉rmek, zaman谋n ki ise beni 枚ld眉rmektir.
H谋rsl谋 insanlar谋n, dikkatle yo臒unla艧m谋艧, ya da asabiyetle kas谋lm谋艧 y眉z ifadelerinden tiksiniyorum.
Dostluk; bir anla艧ma, bir uzla艧mad谋r. 陌ki insan, birbirleri hakk谋nda, ger莽ekte ne d眉艧眉nd眉klerini, asla a莽谋臒a vurmamaya z谋mnen s枚z verirler. Birbirini idare etmeye dayanan bir t眉r ittifak. Hi莽bir dostluk abart谋l谋 d眉r眉stl眉臒眉 kald谋rmaz.
Hepimiz yan谋lg谋 i莽indeyiz, mizah莽谋lar hari莽.
K枚t眉l眉k bu d眉nyan谋n mutlulu臒u i莽in yap谋lan 艧eydir.
Anda ya艧amak m眉mk眉n de臒ildir. Ya gelecekte, ya ge莽mi艧te; ya endi艧e, ya pi艧manl谋k i莽inde ya艧an谋r.
Mutluluk; elde etmek ve haz duymakta de臒il, arzulamamaktad谋r.
Tanr谋lar k枚t眉l眉kten uzakt谋r, bilge ise 眉st眉ndedir. Tanr谋lar, hala arzular谋na tabidir, onlar谋n k枚lesi olarak ya艧arlar, bir tek bilge, arzudan kurtulmu艧tur.
Ya艧l谋l谋k, k谋sacas谋 ya艧am谋艧 olman谋n cezas谋d谋r.
Her proje 眉st眉 枚rt眉l眉 bir k枚lelik bi莽imidir.
Kendi bak谋艧 a莽谋s谋ndan g枚r眉p de臒erlendirdi臒i;
Cezal谋 olarak geldi臒i gezegende hi莽 de g枚z dolduramayan, bencil, h谋rsl谋, etrafa ve do臒aya inan谋lamayacak zararlar vererek kendini ve t眉m varl谋klar谋 cendereye sokan, tanr谋 d眉艧k眉nl眉臒眉n眉 riakarl谋臒a vard谋ran, kendine ve mutlulu臒una yabanc谋la艧m谋艧, ak谋l ve ger莽ek ile uyumsuz, kendi sonunu g枚remeyecek kadar budala, her t眉rl眉 varolu艧u k谋skanan, 眉st眉nl眉k m眉ptelas谋, doyumsuz ve panik insan锟斤拷n ipini pazara 莽谋kar谋yor.
Zavall谋, himayeye muhta莽, yapt谋臒谋 k枚t眉l眉klere ho艧g枚r眉 bekleyen bu ac谋nas谋 varl谋臒谋n ancak yok oldu臒unda dengeye ve huzura erebilece臒ini anlatmaya 莽al谋艧谋yor.
Geldi臒imiz nokta itibar谋 ile s枚ylediklerinde hi莽 de haks谋z say谋lmaz.
Kitaptan sevdi臒im al谋nt谋lar:
陌nsan; s眉rg眉n 枚ncesi, saf谋n谋 se莽me aczi ve karars谋zl谋kla bocalaman谋n 眉r眉n眉 olarak ortaya 莽谋km谋艧t谋r.
Se莽im yapmay谋 枚臒rensin diye g枚nderildi臒i yery眉z眉nde, eyleme ve maceraya mahkum olacak, ve i莽indeki seyirciyi bast谋rd谋臒谋 nispette temizlenebilecektir.
Se莽me ihtimalini bertaraf etti臒imiz, se莽ene臒i hatayla bir tuttu臒umuzda, ba臒lant谋s谋 olmayan insan saadetine yol al谋r谋z.
脺retmek talidir, as谋l nemli olan, insan谋n kendi zenginli臒ini 莽ekip kullanmas谋, hi莽 bir ifade bi莽imi 枚n眉nde e臒ilmeden tam olarak kendisi olmas谋d谋r.
Antik Yunan ve Avrupa, a艧谋r谋ya ka莽an tanr谋 ve muadilleri t眉ketimi y眉z眉nden ve d枚n眉艧眉m tamahkarl谋臒谋 sonucu erken 枚len uygarl谋klara 枚rnektir.
Kendini ger莽ekle艧tirmi艧, h眉nerlerini kullan谋p harcam谋艧, yetene臒inin kaynaklar谋n谋 t眉ketmi艧 bir toplum olan Romal谋lar, art谋k bir艧ey yapmadan ya艧amay谋 arzulad谋lar, ancak b枚yle bir l眉ksleri yoktu ve barbarlar kitleler halinde harekete ge莽ti.
陌nsan谋 i莽sel ve d谋艧sal olarak ay谋ran mistikler, ger莽ek varl谋k olarak birinciyi ye臒ler, ikinciyi kah ac谋kl谋, kah g眉l眉n莽 bir kukla olarak g枚r眉rler. Ahlak莽谋lar ise, hem tiksindikleri hem de cazibesine kap谋ld谋klar谋 d谋艧sal insan谋 bir yandan su莽larken di臒er yandan ortakl谋k yapar.
脰zdeyi艧ler; 艧aibeli bir tarz olsa da, 枚l莽眉l眉 olma terbiyesidir. 陌nsan谋 laf kalabal谋臒谋 m眉nasebetsizli臒inden kurtar谋r.
Ho艧g枚r眉; her ne kadar arzu edileni ve ya艧am谋, ya艧amaya de臒er k谋lan bir 艧eyse de, bir acizlik ve y谋k谋m belirtisi olarak da g枚r眉l眉r. O zamanki toplum ho艧g枚r眉l眉yd眉, 莽眉nk眉 bask谋 uygulamak, dolay谋s谋yla kendini devam ettirmek i莽in gerekli g眉莽ten kuvvetten yoksundu.
Has谋ma g枚sterilen l眉tufkarl谋k, g眉莽ten d眉艧m眉艧l眉臒眉n, yani ho艧g枚r眉n眉n en ay谋rt edici belirtisidir, 枚l眉m d枚艧e臒indekinin son kertedeki i艧vesinden ba艧ka bir 艧ey de臒ildir.
Kimsenin hizmet莽i olmaya tenezz眉l etmedi臒i bir toplum kaybolur gider.
Gayesi olan hi莽bir 艧ey cefa olarak g枚r眉lmez, sava艧莽谋 insanlar sava艧谋 cefa olarak g枚rmez.
Bug眉ne kadar hi莽bir toplum, ayn谋 zamanda hem siyasette, hem de dinde bilge olabilmenin s谋rr谋n谋 bulabilmi艧 de臒il.
Do臒ru olandan ziyade yeni ve yarat谋c谋 olan谋n pe艧ine d眉艧me, kullan谋艧l谋 olandan ziyade ho艧 g枚r眉neni sevme, tiyatroda anlamdan 莽ok oyuncunun ses ve v眉cudunu kullanmas谋na ilgi g枚sterme; ak谋ldan ziyade izlenimle karar vermedir.
Frans谋zlar devrimi, g枚steri艧莽iliklerinden yapm谋艧t谋. G枚steri艧 merak谋 tabiatlar谋na 枚ylesine i艧lemi艧ti ki, temel 枚zellikleri haline gelmi艧ti, 眉retmelerini, tav谋r almalar谋n谋 ve her艧eyden 枚nemlisi g枚z kama艧t谋rmalar谋n谋 sa臒layan g眉c眉n kayna臒谋nda hep bu vard谋.
Espri yani zekan谋n te艧hiri, her durumda mutlaka kar艧谋s谋ndakine 眉st眉n gelme, ne pahas谋na olursa olsun son s枚z眉 s枚yleme duygusu, hepsi bundan kaynaklan谋yordu.
Do臒ada bilin莽 d谋艧谋, insanda k谋smen, tanr谋larda ise g眉mb眉r g眉mb眉r, ifadesini bulan, doyurulmas谋 imkans谋z bir k枚t眉l眉k aray谋艧谋 vard谋r.
Bizler bizi tehdit edenlerle anla艧malar yapar, lanetlerimizi tedavi ederiz. Bizi mahveden 艧eylere kar艧谋 doymak bilmez bir a莽l谋k duyar谋z.
陌nsan tarihin faili, nesnesi, icrac谋s谋 ve kurban谋d谋r.
陌nsan, yaz谋l谋 olmayan b眉t眉n yasalar谋 ihlal ederek, -ki as谋l 枚nemli olan onlard谋r- kendisine tan谋nan t眉m s谋n谋rlar谋 a艧谋p, 枚ylesine y眉kselmi艧ti ki, tanr谋lar谋 k谋艧k谋rtmamas谋 m眉mk眉n de臒ildi.
T眉kenmi艧li臒inin doru臒unda, tarihin y眉k眉nden kurtulan insan, benzersiz olmaktan da feragat etti臒inde, elinde, hi莽bir 艧eyin dolduramayaca臒谋, bombo艧 bir bilin莽ten ba艧ka bir 艧ey kalmayacakt谋r.
Her艧ey, tarihin ve onunla beraber insan谋n da ge莽ip gidece臒ini g枚steriyor.
Sonumuz dokunma mesafesinde, sonun geli艧ini h谋zland谋rmak i莽in, yukar谋n谋n yard谋m谋na da ihtiyac谋m谋z yok.
陌nsan, kudretine mefhun 艧ekilde, do臒ay谋 hi莽e say谋p, ayaklar alt谋nda eziyor, 莽枚k眉nt眉ye s眉r眉kl眉yor, do臒an谋n ta艧谋mas谋n谋n m眉mk眉n olmad谋臒谋, i臒ren莽 ve trajik bir ke艧meke艧 yarat谋yor.
陌艧ledi臒i a臒谋r su莽lardan 枚t眉r眉, insan谋n kendisi k枚leli臒e s眉r眉klenmeli ve rezil olmal谋yd谋.
En 莽ok da hayvanlara kinleniyoruz, dilsizliklerini ellerinden almak, onlar谋 s枚zel hale d枚nd眉rmek, s枚z眉n al莽akl谋臒谋na maruz b谋rakmak i莽in neler vermezdik. 脺zerine d眉艧眉n眉lmeyen, varolu艧un, 枚ylesine varolu艧un cazibesi bize yasak oldu臒undan, buna mazhar olup zevkini 莽谋karanlara da tahamm眉l edemiyor, maceram谋za kay谋ts谋z, sere serpe ya艧ayanlara h谋rsla sald谋r谋yoruz. Tanr谋lar谋n kudretinin s谋rr谋na n眉fus ettiysek de, huzurlar谋n谋n s谋rr谋na vak谋f olamad谋k.
陌nsan谋n tehlikeli refah谋n谋n d眉sturu olan panik, onu 枚ylesine ele ge莽irip, belirler hale gelmi艧tir ki, pani臒ini elinden almaya kalksan谋z an谋nda can verir.
Okurun i艧ini kolayla艧t谋rmak hatad谋r. O, anlamaktan ho艧lanmaz, yerinde saymay谋, kuma bat谋p 莽谋kmay谋 sever, cezaland谋r谋lmaktan ho艧lan谋r. Ne dedi臒i anla艧谋lmayan yazar谋n itibar g枚rmesi bundand谋r.
Kitaplar yaralar谋 kanatmal谋, yeni yaralar a莽mal谋, tehlike arz etmelidir.
Ola臒an眉st眉l眉k merak谋 vasatl谋臒谋n temel niteli臒idir. (Diderot).
S枚yleyecek bir 艧eyi oldu臒u i莽in yazmaz insan, bir 艧ey s枚yleme arzusu duydu臒u i莽in yazar.
Var olmak intihaldir.
脺retemez olunca, ba艧kalar谋n谋n yapt谋臒谋 her艧eyi, ilhamdan ve parlak fikirden yoksun bulmaya ba艧lar谋z.
脰l眉m bir m眉kemmellik halidir.
Verdi臒imiz her tavize, o anda fark谋na varmad谋臒谋m谋z, i莽ten i莽e bir k眉莽眉lme e艧lik eder.
脟al谋艧mad谋臒谋 i莽in can谋 s谋k谋lan arkada艧谋ma, s谋k谋nt谋n谋n 眉st眉n bir hal oldu臒unu, 莽al谋艧ma fikriyle s谋k谋nt谋y谋 yan yana getirerek, s谋k谋nt谋y谋 a艧a臒谋lad谋臒谋n谋 s枚yl眉yorum.
Var olmak, hi莽 bir anlam谋 olmayan muazzam bir fenomendir.
Hi莽bir 艧ey olmad谋臒谋mda bile, bana her 艧ey fazla geliyor.
Hakikate kanaatlerle eri艧mek imkans谋zd谋r, zira, her kanaat ger莽ekli臒e dair meczup bir bak谋艧 a莽谋s谋ndan ba艧ka bir 艧ey de臒ildir.
R眉yada maktul oldu臒unu g枚rd眉kten sonra uyumak, katil oldu臒unu g枚rd眉kten sonra uyumaktan daha kolayd谋r.
Hi莽bir 艧ey tavazu sahibi yapm谋yor insan谋, ceset g枚rmek bile.
Birine kitap g枚ndermek, evinin kap谋s谋n谋 zorlamak gibidir, haneye tecav眉zd眉r, insan谋n sahip oldu臒u en kutsal 艧ey olan, yaln谋zl谋臒谋n谋 莽i臒nemek, onu sizin d眉艧眉ncelerinizi d眉艧眉ns眉n diye kendinden uzakla艧maya zorlamakt谋r.
Endi艧eli bir tela艧a s眉r眉klenmemenin en iyi yolu, sizden daha 莽ok tela艧a kap谋lm谋艧 biriyle g枚r眉艧mektir.
Olmak, mahsur kalmak demektir.
Ne bu d眉nya, ne 枚b眉r d眉nya, ne de mutluluk 艧眉pheye terk edilmi艧 insan i莽indir.
陌nsan dert 莽ekmeye adanm谋艧sa, kendi dertleri ne kadar b眉y眉k olursa olsun, asla yetmez, ba艧kalar谋n谋n dertlerine de at谋l谋r.
Umut etme iptilas谋, tedavi edilmedi臒i s眉rece, insan k枚ledir ve k枚le olarak kal谋r.
Cinsellik ciddi mesele. Ona teslim olmayan, ya garip, ya enkaz, ya da aziz muamelesi g枚r眉r.
Benim misyonum zaman 枚ld眉rmek, zaman谋n ki ise beni 枚ld眉rmektir.
H谋rsl谋 insanlar谋n, dikkatle yo臒unla艧m谋艧, ya da asabiyetle kas谋lm谋艧 y眉z ifadelerinden tiksiniyorum.
Dostluk; bir anla艧ma, bir uzla艧mad谋r. 陌ki insan, birbirleri hakk谋nda, ger莽ekte ne d眉艧眉nd眉klerini, asla a莽谋臒a vurmamaya z谋mnen s枚z verirler. Birbirini idare etmeye dayanan bir t眉r ittifak. Hi莽bir dostluk abart谋l谋 d眉r眉stl眉臒眉 kald谋rmaz.
Hepimiz yan谋lg谋 i莽indeyiz, mizah莽谋lar hari莽.
K枚t眉l眉k bu d眉nyan谋n mutlulu臒u i莽in yap谋lan 艧eydir.
Anda ya艧amak m眉mk眉n de臒ildir. Ya gelecekte, ya ge莽mi艧te; ya endi艧e, ya pi艧manl谋k i莽inde ya艧an谋r.
Mutluluk; elde etmek ve haz duymakta de臒il, arzulamamaktad谋r.
Tanr谋lar k枚t眉l眉kten uzakt谋r, bilge ise 眉st眉ndedir. Tanr谋lar, hala arzular谋na tabidir, onlar谋n k枚lesi olarak ya艧arlar, bir tek bilge, arzudan kurtulmu艧tur.
Ya艧l谋l谋k, k谋sacas谋 ya艧am谋艧 olman谋n cezas谋d谋r.
Her proje 眉st眉 枚rt眉l眉 bir k枚lelik bi莽imidir.
May 17, 2020
As if pessimism talks to you about what it is like, still it is so good and informative that you can't stop reading 馃憖馃憖
June 20, 2008
Cioran is one of those great writers that you can read in the bathtub, which is important to me. First thing in the morning you read his bite like wisedom, and then you are off! Bleak, yes, but then again he's the poet of social despair.
May 21, 2012
4 e mezzo
File under: filosofia della storia + aforismi cioraniani random.
Cioran 猫 qualcuno con cui si pu貌 finalmente parlare.
File under: filosofia della storia + aforismi cioraniani random.
Cioran 猫 qualcuno con cui si pu貌 finalmente parlare.
April 18, 2017
Todo el recorrido hist贸rico de este libro, m谩s el plus de realidad ha sido muy oportuno.
May 21, 2018
Proverb chinezesc: "C芒nd un singur c芒ine se-apuc膬 s膬 latre la o umbr膬, zece mii de c芒ini fac din ea o realitate." De pus ca motto 卯naintea oric膬rui comentariu despre ideologii.
February 4, 2019
Orice literatur膬 卯ncepe cu imnuri 艧i sf芒r艧e艧te cu exerci牛ii.
July 28, 2021
鈥淚 spend my time advising suicide in what I write and advising against it in what I say. This is because the first case concerns a philosophical issue; the second, a being, a voice, a complaint . . .鈥�
The difference between a lack of sympathy and a sympathy for lack is precisely the difference between philosophical pessimism and its cause鈥攅mpathy gone haywire.
*
You have to wonder with Cioran. Was his pessimism, his resignation, his violent rejection of everything (including and especially himself) downstream from his regret over his involvement with fascism? Can we imagine a joyful Cioran鈥攑erhaps one who never discovered that 鈥渁 self-respecting man is a man without a country鈥�, or perhaps one who could forgive himself after his disavowal? Alternatively鈥攚as Cioran鈥檚 pessimism a destiny? Perhaps the facts of his life could have been anything else and we would still have been left a corpus full of poisoned letters to existence?
Cioran hides himself best when he expresses himself. The insomniac ramblings, the desire for death, the lament of aging and disease鈥攏one of this expressed Cioran鈥檚 real problems. Regret and shame, envy and self-loathing troubled him far more. In one aphorism, Cioran declares 鈥渁 whole period of my life seems scarcely imaginable to me today, so alien to me has it become. How could I have been the man I was?鈥濃€攁nd almost as quickly as he shows us his regret for who he was, he shows us his regret for who he became: 鈥淔or years, opposing my 鈥渋nclination,鈥� I turned to expressions of wisdom alien to my nature, concerned to neutralise my bad tendencies instead of letting myself go鈥� It is a seducer, it is the genius of salvation which has tempted me, and in yielding to it, even if only momentarily, I have contributed as best I could to the debilitation of the man I was and whom I should have remained.鈥�
Conclusion: the examined life is the most worthless of all.
*
I couldn鈥檛 help re-reading a certain line from Drawn and Quartered when, one morning, a friend of mine approached me with a serious issue and, consequently, gave me something to do other than whittle away the time torturing myself:
鈥淗is panic is salutary to me: it forces me to calm him, and this effort of persuasion, this search for soothing arguments, soothes me in my turn.鈥�
A mission statement, and perhaps that鈥檚 all these texts are. Soothing arguments of a peculiar and singular kind. Perhaps Cioran has never really advised suicide in what he wrote but only offered it as an fantastic remedy. As Nietzsche said, 鈥淭he thought of suicide is a great consolation: by means of it one gets through many a dark night.鈥�
The difference between a lack of sympathy and a sympathy for lack is precisely the difference between philosophical pessimism and its cause鈥攅mpathy gone haywire.
*
You have to wonder with Cioran. Was his pessimism, his resignation, his violent rejection of everything (including and especially himself) downstream from his regret over his involvement with fascism? Can we imagine a joyful Cioran鈥攑erhaps one who never discovered that 鈥渁 self-respecting man is a man without a country鈥�, or perhaps one who could forgive himself after his disavowal? Alternatively鈥攚as Cioran鈥檚 pessimism a destiny? Perhaps the facts of his life could have been anything else and we would still have been left a corpus full of poisoned letters to existence?
Cioran hides himself best when he expresses himself. The insomniac ramblings, the desire for death, the lament of aging and disease鈥攏one of this expressed Cioran鈥檚 real problems. Regret and shame, envy and self-loathing troubled him far more. In one aphorism, Cioran declares 鈥渁 whole period of my life seems scarcely imaginable to me today, so alien to me has it become. How could I have been the man I was?鈥濃€攁nd almost as quickly as he shows us his regret for who he was, he shows us his regret for who he became: 鈥淔or years, opposing my 鈥渋nclination,鈥� I turned to expressions of wisdom alien to my nature, concerned to neutralise my bad tendencies instead of letting myself go鈥� It is a seducer, it is the genius of salvation which has tempted me, and in yielding to it, even if only momentarily, I have contributed as best I could to the debilitation of the man I was and whom I should have remained.鈥�
Conclusion: the examined life is the most worthless of all.
*
I couldn鈥檛 help re-reading a certain line from Drawn and Quartered when, one morning, a friend of mine approached me with a serious issue and, consequently, gave me something to do other than whittle away the time torturing myself:
鈥淗is panic is salutary to me: it forces me to calm him, and this effort of persuasion, this search for soothing arguments, soothes me in my turn.鈥�
A mission statement, and perhaps that鈥檚 all these texts are. Soothing arguments of a peculiar and singular kind. Perhaps Cioran has never really advised suicide in what he wrote but only offered it as an fantastic remedy. As Nietzsche said, 鈥淭he thought of suicide is a great consolation: by means of it one gets through many a dark night.鈥�
April 26, 2017
This collection of several essay-meditations and "Stabs at Bewilderment," a (delightfully titled!) collection of aphorisms has less spark, but still some of that tension between anguish and love of life that made his early book Tears and Saints so magnetic. (This is only the second Cioran book I've read - I can't speak much yet about On the Heights of Despair which I've only just started.) His aphorisms, personal and philosophical, seem to open a window into a fascinating, delightfully paradoxical soul - a poet of anguish who was somehow able to embue inner suffering with humor at times, without reducing its intensity, His thoughts - quite different from my own - often astonished me, and I wanted to open my mind and heart to receive these intellectual and emotional heights and depths - although not as great in range as in his earlier books; more weary but also more willing to laugh at himself - even in his choice of title. I admit to feeling a bit of contempt at times for the seemingly relentless despair, but at other times the expression of darkness was quite cathartic - and then I'd catch undertones of joy. I often laughed aloud. I marked many aphorisms to come back and reread. Among the essays, the highlight (or perhaps high darkness) was "Urgency of the Worst," a vastly despairing meditation on the End of History, very much in spirit of the mid-twentieth century.
August 19, 2017
Cominciamo bene:
L鈥檜omo e鈥� inaccettabile. (175)
Sembra tuttavia difficile trovare, nei libri di Cioran, il bene, sia nella forma di Summum Bonum che in tutte quelle forme dell鈥檌llusione cosmica che il giudizio umano invoca e apprezza come bene. La muraglia appare senza finestre, addirittura senza crepe. Anche la grande finestra nirvanica di Schopenhauer, il presentimento leopardiano di un鈥檃rcana felicita鈥� delusa ma non impossibilissima, sembrano qui del tutto mancare. (Ceronetti, nota introduttiva, p. 13)
Dopo aver dettato legge ai due emisferi. Gli occidentali sono sul punto di diventarne lo zimbello鈥� (30-1)
Il concetto stesso di progresso e鈥� divenuto inseparabile da quello di epilogo. (44)
Dopo tante conquiste e tanti successi di ogni sorta, l鈥檜omo incomincia a passare di moda. (62)
Dal momento che l鈥檃micizia e鈥� incompatibile con la verita鈥�, fecondo e鈥� soltanto il dialogo muto con i nostri nemici. (89)
鈥� Better be with the dead
鈥� Than on the torture of the mind to lie
In restless ecstasy.
Macbeth, - mio fratello, mio portavoce, mio messaggero, mio alter ego. (130)
Non c鈥檈鈥� un altro mondo. Non c鈥檈鈥� neppure questo mondo. Che cosa c鈥檈鈥� allora? Il sorriso interiore che suscita in noi l鈥檌nesistenza evidente dell鈥檜no e dell鈥檃ltro. (139)
L鈥檜omo e鈥� inaccettabile. (175)
Sembra tuttavia difficile trovare, nei libri di Cioran, il bene, sia nella forma di Summum Bonum che in tutte quelle forme dell鈥檌llusione cosmica che il giudizio umano invoca e apprezza come bene. La muraglia appare senza finestre, addirittura senza crepe. Anche la grande finestra nirvanica di Schopenhauer, il presentimento leopardiano di un鈥檃rcana felicita鈥� delusa ma non impossibilissima, sembrano qui del tutto mancare. (Ceronetti, nota introduttiva, p. 13)
Dopo aver dettato legge ai due emisferi. Gli occidentali sono sul punto di diventarne lo zimbello鈥� (30-1)
Il concetto stesso di progresso e鈥� divenuto inseparabile da quello di epilogo. (44)
Dopo tante conquiste e tanti successi di ogni sorta, l鈥檜omo incomincia a passare di moda. (62)
Dal momento che l鈥檃micizia e鈥� incompatibile con la verita鈥�, fecondo e鈥� soltanto il dialogo muto con i nostri nemici. (89)
鈥� Better be with the dead
鈥� Than on the torture of the mind to lie
In restless ecstasy.
Macbeth, - mio fratello, mio portavoce, mio messaggero, mio alter ego. (130)
Non c鈥檈鈥� un altro mondo. Non c鈥檈鈥� neppure questo mondo. Che cosa c鈥檈鈥� allora? Il sorriso interiore che suscita in noi l鈥檌nesistenza evidente dell鈥檜no e dell鈥檃ltro. (139)
September 30, 2011
quotes:
- The more power man acquires, the more vulnerable he becomes. What he must fear most is the moment when, creation entirely fleeced, he will celebrate his triumph, that fatal apotheosis, the victory he will not survive.
- Fortunate those who, born before Science, were privileged to die of their first disease!
- It is my elocutionary defects, my stammerings, my jerky delivery, my art of mumbling - it is my voice, my transeuropean r's, that have impelled me by reaction to take some care with what I write and to make myself more or less worthy of an idiom I mistreat each time I open my mouth.
- Existing is plagiarism.
- Each concession we make is accompanied by an inner diminution of which we are not immediately conscious.
- The only words that count, that are contagious, are those resulting from illumination or from frenzy, two states in which one is unrecognizable.
- Even when nothing happens, everything seems too much for me. What can be said, then, in the presence of an event, of any event?
- The only time we can be content with ourselves is when, according to a Japanese phrase, we remember having perceived the Ah! of things.
p. 122
- The more power man acquires, the more vulnerable he becomes. What he must fear most is the moment when, creation entirely fleeced, he will celebrate his triumph, that fatal apotheosis, the victory he will not survive.
- Fortunate those who, born before Science, were privileged to die of their first disease!
- It is my elocutionary defects, my stammerings, my jerky delivery, my art of mumbling - it is my voice, my transeuropean r's, that have impelled me by reaction to take some care with what I write and to make myself more or less worthy of an idiom I mistreat each time I open my mouth.
- Existing is plagiarism.
- Each concession we make is accompanied by an inner diminution of which we are not immediately conscious.
- The only words that count, that are contagious, are those resulting from illumination or from frenzy, two states in which one is unrecognizable.
- Even when nothing happens, everything seems too much for me. What can be said, then, in the presence of an event, of any event?
- The only time we can be content with ourselves is when, according to a Japanese phrase, we remember having perceived the Ah! of things.
p. 122
May 23, 2018
"Eliade a 卯nceput s膬 葲in膬 cursuri la Facultatea de Litere din Bucure艧ti. Mergeam s膬-l ascult de c芒te ori puteam. Fervoarea risipit膬 卯n articolele lui se reg膬sea din fericire 卯n aceste prelegeri, cele mai 卯nsufle葲ite, cele mai vibrante din c芒te-am auzit vreodat膬. F膬r膬 noti葲e, f膬r膬 nimic, luat de valul unei erudi葲ii lirice, zv芒rlea cuvinte convulsive 艧i totu艧i coerente, subliniate de mi艧carea crispat膬 a m芒inilor. O or膬 de tensiune, dup膬 care, adev膬rat miracol, nu p膬rea istovit, 艧i poate c膬 nici nu era. Ai fi zis c膬 st膬p芒ne艧te arta de-a am芒na la nesf芒r艧it oboseala."
January 26, 2022
The long-form essays on the philosophy of history are really good and interesting, but the books ends with 70 pages of aphorisms that are irrelevnt and, in fact, read like the B-sides of Temptation To Exist.
Ultimately kinda lame. Cioran's written better books. Best part is when he trashes the french.
Edit: the essays are an interesting Coda to "Schimbarea la fata a Romaniei". If you care about how his opinion on patriotism, history and culture has changed in the intervening 40 years, read the first essays.
Ultimately kinda lame. Cioran's written better books. Best part is when he trashes the french.
Edit: the essays are an interesting Coda to "Schimbarea la fata a Romaniei". If you care about how his opinion on patriotism, history and culture has changed in the intervening 40 years, read the first essays.
February 7, 2017
Desgarradura es un libro duro, denso, y sobre todo, muy pesimista, pero a m铆 me gust贸. La profundidad exacta, sin poner m谩s de lo que deb铆a escribirse, me da una gran satisfacci贸n como lectora. Esto lo digo bas谩ndome en esa idea err贸nea que hay en las redes sociales en la que se supone que muchas palabras son sin贸nimo de grandeza, y no, con este libro se confirma que en la mayor铆a de los casos, menos es m谩s.
RESE脩A COMPLETA EN MI WEB
RESE脩A COMPLETA EN MI WEB
July 25, 2016
"Pensar es correr tras la inseguridad, es pegarse por nader铆as grandiosas, encerrarse en abstracciones con ansia de martir, es buscar la complicaci贸n del mismo modo que otros busvan el hundimiento o el provecho. El pensador est谩 por definici贸n, 谩vido de tormento" E.M Cioran
Y como en cada uno de sus libros, despu茅s de cada aforismo nos hace quedarnos m谩s "谩vidos del tormento"
Y como en cada uno de sus libros, despu茅s de cada aforismo nos hace quedarnos m谩s "谩vidos del tormento"
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