Nikos Karouzos: The agony in front of nothingness – Νικος Καρουζος: Η αγωνια κατάντικρυ στο μηδεν

Ο ποιητης Νικος Καρουζος ταξιδεψε στον αλλο κοσμο την 28η Σεπτεμβριου 1990.

The Greek poet Nikos Karouzos died twenty two years ago this day.

Σχεδον δυο χρονια πριν, στα τελειωματα του 2010 ειχα γραψει ενα αρθρο για τον μεγαλο Ελληνα ποιητη.

Almost two years ago, at the end of 2010, I wrote an article about the great Greek poet.

The Greek poet Nikos Karouzos

Σημερα, τιμωντας την μνημη του για μια ακομη φορα, παραθετω ενα εκτενες αποσπασμα απο ενα κειμενο του που ξεκινησε να καμει κριτικη στον Καζαντζακη, αλλα επικεντρωθηκε στην “αγωνια κατάντικρυ στο μηδεν” (Νικος Καρουζος, Πεζα Κειμενα, Ικαρος Εκδοτικη Εταιρεια, 1998).

Today in his memory I publish an extract from an article he wrote criticizing Nikos Kazantzakis. The article is focused on the “agony in front of nothingness”. It goes like this:

“…. Ας παρουμε λοιπον, αν οχι τιποτ’ αλλο, το Ταο τε κινγκ,   το περιφημο βιβλιο του Λαο-τσε, την πιο αμυθοποιητη μεταφυσικη διδασκαλια της Αρχαιας Ασιας. Την αγωνια που μας βαζει συστηθους απεναντι στο μηδεν – απ’ τη χαμηλοτερη βαθμιδα της ως την υψηλοτερη, εκεινη που φανερωνει μ’ αλλα λογια την αγωνια ως υψωτικη μεριμνα – την κανει να υπαρχει, κατα τη διδασκαλια τουτη, το κτητικο-προσκολλητικο στοιχειο της υπαρξεως: η ατομικοτητα.

“… Let us then take, if nothing else, Tao te Ching, Lao Tse’s masterpiece, the most metaphysical teaching of Anceint Asia that is not prone to Myth. According to Lao Tse, the agony we experience in front of nothingness – from its lowest degree to the highest, where it is experienced as redemption anxiety – emerges out of the posessive – attachment attribute of our existence: individuality.

Martin Heidegger’s Feldweg in Messkirch, Germany

Εκεινος που δινεται στην μελετη 

γινεται πιοτερος μερα με τη μερα. 

Εκεινος που αφιερωνεται στο Ταο

ελαττωνεται μερα με τη μερα. 

He who devotes himself to learning

(seeks) from day to day to increase (his knowledge);

he who devotes himself to the Tao

(seeks) from day to day to diminish (his doing).

Lao Tse

Ελατωσου κι ακομη ελαττωσου

για να φτασεις καποτε στην απραξια. 

Με την απραξια

τιποτα δεν υπαρχει που να μη γινεται.

(Ταο τε κινγκ, 48)

He diminishes it and again diminishes it,

till he arrives at doing nothing (on purpose).

Having arrived at this point of non-action,

there is nothing which he does not do. ((chap. 48)

C D Friedrich: Der Wanderer

Θυμιζουμε την οντολογικη θεμελιωση της ταοϊκης διδασκαλιας:

Let us be reminded of the ontological foundation of taoism:

Ο γυρισμος ειν’ η κινηση του Ταο.

Τουτο φανερωνεται στο να’ ναι κανεις εξω απ’ τη δυναμη. 

Ολα τα οντα πηγαζουν απ’το Ειναι

το Ειναι πηγαζει απ’ το Μη-Ειναι

(Ταο τε κινγκ, 40)

In Tao the only motion is returning;

The only useful quality, weakness.

For though all creatures under heaven are the products of Being,

Being itself is the product of Not-being. ” (chap. 40, tr. Waley)

The Greek poet Nikos Karouzos

Το Ταο ειν’ ο δρομος προς το αδειασμα της ατομικοτητας, πηγης της κτητικοτητας και του εξουσιαζειν.

Tao is the way to get rid of individuality, which is the source of posessiveness and power.

Το Ταο ειν’ ο δρομος προς την απραξια, που σημαινει βασικα την μη προσκολληση στ’ αποτελεσματα του πραττειν, ειτε αυτα ειν’ αγαθα ειτε αυτα ειν’ ασχημα.

Tao is the road to doing nothing, which means non attachment to the results of acting, good or bad.  

Το Ταο ειν’ η κινηση προς την καθαρα πνευματικη χρηση του Ειναι, προς το μη-εγω που ειναι τα αταραχτο εγω της μη-ατομικοτητας, του μη-κτητικου-προσκολλητικου στοιχειου της υπαρξεως, προς την εξουδετερωση της αγωνιας, προς την μεταμορφωση σε πνευμα της υλης: την αταραξια.

Tao is the movement to the actualization of Being, to the non-Being, which is the undisturbed nucleus of non-individuality, of the non-posessive, non-aatached element of existence, to the neutralization of anxiety, to stillness.

Φτασε στην κενοτητα την υψιστη

και σ’ αταραξια διατηρησου…(16)

The (state of) vacancy should be brought to the utmost degree, and that of stillness guarded with unwearying vigour. (16)

Γιατι το ειναι και το μηδεν γεννιουνται το εν’ απ’ τ’ αλλο.(2)

So it is that existence and non-existence give birth the one to (the idea of) the other (2)

Σ’ αυτο το σημειο το ειναι και το μηδεν ειν’ ακριβως ο,τι ο Ηρακλειτος ονομαζει “ζων” και “τεθνηκος” που ειναι “ταυτο”.

Ειν’ η παντοδεχτρα ζωη κι ο παντοδεχτης θανατος, οπου αγωνια κι ο Καζαντζακης…

It is at this point that being and nothingness is exactly what Heracletus calls “living” and “decesaed” that are “the same”.

It is the all encompassing life and the all encomapssing death, where Kazantzakis’ anxiety originates.

Heracletus

ταὐτὸ ζῶν καὶ τεθνηκὸς καὶ ἐγρηγορὸς καὶ καθεῦδον καὶ νέον καὶ γηραιόν· τάδε γὰρ μεταπεσόντα ἐκεῖνά ἐστι κἀκεῖνα πάλιν μεταπεσόντα ταῦτα.

Ηρακλειτος (αποσπασμα 88)

And it is the same thing in us that is quick and dead, awake and asleep, young and old; the former are shifted and become the latter, and the latter in turn are shifted and become the former.

Heracletus (fragmentum 88)

Tears: the liquid essense of psyche?

– Ψυχηισιν θανατος υδωρ γενεσθαι,
υδατι δε θανατος γην γενεσθαι,
εκ γης δε υδωρ γινεται,
εξ υδατος δε ψυχή –

Ηρακλειτος

“When the soul dies, it becomes water,

when water dies, it becomes earth,

and the earth makes the water,

and the water makes the soul”

Heraclitus

(5th century BC Presocratic Greek Philosopher)

Una furtiva lagrima (A furtive tear)

One furtive secret tear
from her eyes did spring:
as if those youths who can be playful
it ( or she ) seemed to be envious of.
What more searching do I want?
What more searching do I want?
She loves me! Yes, she loves me, I see it. I see it.
Just for an instant the beats
of her beautiful heart if I could feel!
My sighs if they were mingled
for a while with her sighs!
The beats, the beats of her heart if I could feel,
to fuse my sighs with hers…
Heavens! Yes, I could die!
I ask for nothing more, nothing.
Oh, heavens! Yes, I could, I could die!
I ask for nothing more, nothing.
Yes, I could die! Yes, I could die of love.

Una furtiva lagrima (A furtive tear) is the romanza taken from Act II, Scene VIII of the Italian opera, L’elisir d’amore by Gaetano Donizetti. It is sung by Nemorino (tenor) when he finds that the love potion he bought to win his dream lady’s heart, Adina, works.

Nemorino is in love with Adina, but she isn’t interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a “love potion” with all the money he has in his pocket. The “love potion” is actually a cheap red wine sold by a traveling con man. But when he sees Adina weeping, he knows that she has fallen in love with him and the “Elixir” works. (Source: Wikipedia)

Here is Roberto Villazon, in the role of Nemorino, singing the famous romanza from Donizetti’s L’ Elisir d’ amore , with the Orchestra of the Vienna State Opera, Alfred Eschwe conducting.

Vesti la giubba (Put on the costume)!

To act! While out of my mind,
I no longer know what I say,
or what I do!
And yet it’s necessary… make an effort!
Bah! Are you not a man?
You are Pagliaccio!

Put on your costume,
powder your face.
The people pay to be here, and they want to laugh.
And if Harlequin shall steal your Columbine,
laugh, Pagliaccio, so the crowd will cheer!
Turn your distress and tears into jest,
your pain and sobbing into a funny face – Ah!

Laugh, Pagliaccio,
at your broken love!
Laugh at the grief that poisons your heart!


Vesti la giubba (Put on the costume) is a famous tenor aria performed as part of the opera Pagliacci, written and composed by Ruggero Leoncavallo, and first performed in 1892.

Vesti la giubba is the conclusion of the first act, when Canio discovers his wife’s infidelity, but must nevertheless prepare for his performance as Pagliaccio the clown because ‘the show must go on‘.

The aria is often regarded as one of the most moving in the operatic repertoire of the time. The pain of Canio is portrayed in the aria and exemplifies the entire notion of the ‘tragic clown’: smiling on the outside but crying on the inside. This is still displayed today as the clown motif often features the painted on tear running down the cheek of the performer. (Source: Wikipedia)

The great Swedish tenor Jussi Bjorling sings the aria in a performance of 1953.




W.A. Mozart: Requiem – Lacrimosa

Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus:
Pie Jesu Domine,
Dona eis requiem. Amen

Tearful that day,
on which will rise from ashes
guilty man for judgment.
So have mercy, O Lord, on this man.
Compassionate Lord Jesus,
grant them rest. Amen.

In the video John Eliot Gardiner conducts the English Baroque Soloists and the Monteverdi Choir. This performance was filmed at the Palau de la Musica Catalana, Barcelona in Dec. 1991. It starts with “confutatis” and continues with the “lacrimosa”.

Credit: I thank Manolis for contributing the Heraclitus quotation, in addition to his endless stream of comments, thoughts and ideas.