Emil Cioran
Born in 1911 in Rășinari, 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 “little Paris” of Bucarest.
A prolific publicist, he became a well-known figure, along with Mircea Eliade, Constantin Noïca, and his future close friend Eugene Ionesco (with whom he shared the Royal Foundation’s 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) – 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 “little nations” 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 Mallarmé, 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 “straight-jacket” 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 Boué 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’admiration, 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 Cavaillès
Translated by Thomas Cousineau
“By all evidence we are in the world to do nothing.”
“Write books only if you are going to say in them the things you would never dare confide to anyone.”
“However much I have frequented the mystics, deep down I have always sided with the Devil; unable to equal him in power, I have tried to be worthy of him, at least, in insolence, acrimony, arbitrariness, and caprice.”
“What will be the physiognomy of painting, of poetry, of music, in a hundred years? No one can tell. As after the fall of Athens, of Rome, a long pause will intervene, caused by the exhaustion of consciousness itself. Humanity, to rejoin the past, must invent a second naiveté, without which the arts can never begin again.”
“Is it possible that existence is our exile and nothingness our home?”
“Between the demand to be clear,and the temptation to be obscure, impossible to decide which deserves more respect.”
“Chaos is rejecting all you have learned, Chaos is being yourself.”
“There is no other world. Nor even this one. What, then, is there? The inner smile provoked in us by the patent nonexistence of both.”
“I never met one interesting mind that was not richly endowed with inadmissible deficiencies.”
“Nobility is only in the negation of existence, in a smile that surveys annihilated landscapes.”
“Man starts over again everyday, in spite of all he knows, against all he knows.”
“Nobody would dare look at himself in the mirror, because a grotesque, tragic image would mix in the contours of his face with stains and traces of blood, wounds which cannot be healed, and unstoppable streams of tears. I would experience a kind of voluptuous awe if I could see a volcano of blood, eruptions as red as fire and as burning as despair, burst into the midst of the comfortable and superficial harmony of everyday life, or if I could see all our hidden wounds open, making of us a bloody eruption forever. Only then would we truly understand and appreciate the advantage of loneliness, which silences our suffering and makes it inaccessible. The venom drawn out from suffering would be enough to poison the whole world in a bloody eruption, bursting out of the volcano of our being. There is so much venom, so much poison, in suffering!”
“The deepest and most organic death is death in solitude, when even light becomes a principle of death. In such moments you will be severed from life, from love, smiles, friends and even from death. And you will ask yourself if there is anything besides the nothingness of the world and your own nothingness.”
“Tears do not burn except in solitude.”
“We are so lonely in life that we must ask ourselves if the loneliness of dying is not a symbol of our human existence.”
“In every man sleeps a prophet, and when he wakes there is a little more evil in the world.”
“If utopia was illusion hypostasized, communism, going still further, will be illusion decreed, imposed: a challenge to the omnipresence of evil, an obligatory optimism. A man will find it hard to accommodate himself to it if he lives, by dint of ordeals and experiments, in the intoxication of disappointment and if, like the author of Genesis, he is reluctant to identify the Age of Gold with the future, with becoming. Not that he scorns the fanatics of "infinite progress" and their efforts to make justice prevail here on earth; but he knows, to his misery, that justice is a material impossibility, a grandiose meaninglessness, the only ideal about which we can declare quite certainly that it will never be realized, and against which nature and society seem to have mobilized all their laws.”
“America stands before the world as an impetuous void, a fatality without substance. Nothing prepared her for hegemony; yet she tends toward it, not without a certain hesitation. Unlike the other nations which have had to pass through a whole series of humiliations and defeats, she has known till now only the sterility of an uninterrupted good fortune. If, in the future, everything should continue to go as well, her appearance on the scene will have been an accident without influence. Those who preside over her destiny, those who take her interests to heart, should prepare her for bad times; in order to cease being a superficial monster, she requires an ordeal of major scope. Perhaps she is not far from one now. Having lived, hitherto, outside hell, she is preparing to descend into it. If she seeks a destiny for herself, she will find it only on the ruins of all that was her raison d'être.”
“We have convictions only if we have studied nothing thoroughly.”
“The truly solitary being is not the man who is abandoned by men, but the man who suffers in their midst, who drags his desert through the marketplace and deploys his talents as a smiling leper, a mountebank of the irreparable. The great solitaries were happy in the old days, knew nothing of duplicity, had nothing to hide: they conversed only with their own solitude.”
“The fact that life has no meaning is a reason to live-moreover, the only one.”
“Only optimists commit suicide, optimists who no longer succeed at being optimists. The others, having no reason to live, why would they have any to die?”
“Ennui is the echo in us of time tearing itself apart.”
“Le même sentiment d'inappartenance, de jeu inutile, où que j'aille : je feins de m'intéresser à ce qui ne m'importe guère, je me trémousse par automatisme ou par charité, sans jamais être dans le coup, sans jamais être quelque part. Ce qui m'attire est ailleurs, et cet ailleurs je ne sais ce qu'il est.”
“The true hero fights and dies in the name of his destiny, and not in the name of a belief.”
“Nu pot fi eu insumi decat daca ma inalt pana la furie sau cobor pana la descurajare: la nivelul meu obisnuit, ignor faptul ca exist.”
“God does not read.”
“Tristetea, ca si suferinta, ne revela existenta, deoarece în ele avem în constiinta separatia noastra de lumea obiectiva si nelinistea care da un caracter tragic vietuirii în existenta.Daca ar exista un zeu al tristetii, lui nu i-ar putea creste decât aripi negre si grele, pentru a zbura nu înspre ceruri, ci în infern.”
“Nothing desiccates a mind so much as its repugnance to conceive obscure ideas.”
“Only superficial minds approach an idea with delicacy.”
“It is no sign of benediction to have been obsessed with the lives of saints, for it is an obsession intertwined with a taste for maladies and hunger for depravities. One only troubles oneself with saints because one has been disappointed by the paradoxes of earthly life; one therefore searches out other paradoxes, more outlandish in guise, redolent of unknown truths, unknown perfumes...”
“لا وجود إلا لعلامة واحدة تشهد على أننا فهمنا كل شىء: أن نبكي بلا سبب”
“I very much like this one :" For you who no longer posses it, freedom is everything..For us who do it is merely an illusion..”
“It is a mistake to think of the expatriate as someone who abdicates, who withdraws and humbles himself, resigned to his miseries, his outcast state. On a closer look, he turns out to be ambitious, aggressive in his disappointments, his very acrimony qualified by his belligerence. The more we are dispossessed, the more intense our appetites and illusions become. I even discern some relation between misfortune and megalomania. The man who has lost everything preserves as a last resort the hope of glory, or of literary scandal. He consents to abandon everything, except his name. [ . . . ]Let us say a man writes a novel which makes him, overnight, a celebrity. In it he recounts his sufferings. His compatriots in exile envy him: they too have suffered, perhaps more. And the man without a country becomes—or aspires to become—a novelist. The consequence: an accumulation of confusions, an inflation of horrors, of frissons that date. One cannot keep renewing Hell, whose very characteristic is monotony, or the face of exile either. Nothing in literature exasperates a reader so much as The Terrible; in life, it too is tainted with the obvious to rouse our interest. But our author persists; for the time being he buries his novel in a drawer and awaits his hour. The illusion of surprise, of a renown which eludes his grasp but on which he reckons, sustains him; he lives on unreality. Such, however, is the power of this illusion that if, for instance, he works in some factory, it is with the notion of being freed from it one day or another by a fame as sudden as it is inconceivable.*Equally tragic is the case of the poet. Walled up in his own language, he writes for his friends—for ten, for twenty persons at the most. His longing to be read is no less imperious than that of the impoverished novelist. At least he has the advantage over the latter of being able to get his verses published in the little émigré reviews which appear at the cost of almost indecent sacrifices and renunciations. Let us say such a man becomes—transforms himself—into an editor of such a review; to keep his publication alive he risks hunger, abstains from women, buries himself in a windowless room, imposes privations which confound and appall. Tuberculosis and masturbation, that is his fate.No matter how scanty the number of émigrés, they form groups, not to protect their interests but to get up subscriptions, to bleed each other white in order to publish their regrets, their cries, their echoless appeals. One cannot conceive of a more heart rending form of the gratuitous.That they are as good poets as they are bad prose writers is to be accounted for readily enough. Consider the literary production of any "minor" nation which has not been so childish as to make up a past for itself: the abundance of poetry is its most striking characteristic. Prose requires, for its development, a certain rigor, a differentiated social status, and a tradition: it is deliberate, constructed; poetry wells up: it is direct or else totally fabricated; the prerogative of cave men or aesthetes, it flourishes only on the near or far side of civilization, never at the center. Whereas prose demands a premeditated genius and a crystallized language, poetry is perfectly compatible with a barbarous genius and a formless language. To create a literature is to create a prose.”
“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.”
“In itself, every idea is neutral, or should be; but man animates ideas, projects his flames and flaws into them; impure, transformed into beliefs, ideas take their place in time, take shape as events: the trajectory is complete, from logic to epilepsy . . . whence the birth of ideologies, doctrines, deadly games.Idolaters by instinct, we convert the objects of our dreams and our interests into the Unconditional. History is nothing but a procession of false Absolutes, a series of temples raised to pretexts, a degradation of the mind before the Improbable. Even when he turns from religion, man remains subject to it; depleting himself to create fake gods, he feverishly adopts them: his need for fiction, for mythology triumphs over evidence and absurdity alike.”
“One cannot live without motives. I have no motives left, and I am living.”
“It is not worth the bother of killing yourself, since you always kill yourself too late.”
“Dispretul oamenilor ma intareste, si nu le cer decat o favoare - sa nu insemn nimic in ochii lor.”
“If a man has not, by the time he is thirty, yielded to the fascination of every form of extremism—I don't know whether he is to be admired or scorned, regarded as a saint or a corpse.”
“The multiplication of our kind borders on the obscene; the duty to love them, on the preposterous.”
“Knowledge subverts love: in proportion as we penetrate our secrets, we come to loathe our kind, precisely because they resemble us.”
“To have solely one thought, but it to be capable of destroy the universe”
“A civilization begins to decline the moment Life becomes its sole obsession.”
“Shame on the man who goes to his grave escorted by the miserable hopes that have kept him alive.”
“To accomplish nothing and die of the strain”
“Suffering makes you live time in detail, moment after moment. Which is to say that it exists for you: over the others, the ones who don't suffer, time flows, so that they don't live in time, in fact they never have.”