abstractio (parfois au sens péj. de rêverie... )
*
Ex : 'qu'est-ce que la vie' :
https://www.youtube.com/watch?v=J-pV9vxMF8Q
Saturday, 24 September 2022
Sunday, 11 September 2022
figures du réel XXIV : nocturnes : Jekyll/Hyde
Jekyll/Hyde // day/night : un rapprochement diurne-nocturne : twilight
*
'split personality' : tout l'inverse
*
The other snarled aloud into a savage laugh; and the next moment, with extraordinary quickness, he had unlocked the door and disappeared into the house.
My reason wavered, but it did not fail me utterly. I have more than once observed that in my second character, my aculties seemed sharpened to a point and my spirits more tensely elastic; thus it came about that, where Jekyll perhaps might have succumbed, Hyde rose to the importance of the moment.
quickness, elasticity de l'esprit également donc (on peut supposer que Henry Jekyll, M.D., D.C.L., L.L.D.,F.R.S., etc n'est pas un esprit lent...), rose to the importance of the Moment / aletheia / Ereignis
force prodigieuse, malgré une petite taille : tout en muscle :
But when I slept, or when the virtue of the medicine wore off, I would leap almost without transition (for the pangs of transformation grew daily less marked) into the possession of a fancy brimming with images of terror, a soul boiling with causeless hatreds, and a body that seemed not strong enough to contain the raging energies of life. The powers of Hyde seemed to have grown with the sickliness of Jekyll.
With Jekyll, it was a thing of vital instinct. He had now seen the full deformity of that creature that shared with him some of the phenomena of consciousness, and was co-heir with him to death: and beyond these links of community, which in themselves made the most poignant part of his distress, he thought of Hyde, for all his energy of life, as of something not only hellish but inorganic. This was the shocking thing; that the slime of the pit seemed to utter cries and voices; that the amorphous dust gesticulated and sinned; that what was dead, and had no shape, should usurp the offices of life. And this again, that that insurgent horror was knit to him closer than a wife, closer than an eye; lay caged in his flesh, where he heard it mutter and felt it struggle to be born; and at every hour of weakness, and in the confidence of slumber, prevailed against him, and deposed him out of life.
There was no mirror, at that date, in my room; that which stands beside me as I write, was brought there later on and for the very purpose of these transformations. The night however, was far gone into the morning--the morning, black as it was, was nearly ripe for the conception of the day--the inmates of my house were locked in the most rigorous hours of slumber; and I determined, flushed as I was with hope and triumph, to venture in my new shape as far as to my bedroom.
De même Lanyon, l'éternel rival :
I saw what I saw, I heard what I heard, and my soul sickened at it; and yet now when that sight has faded from my eyes, I ask myself if I believe it, and I cannot answer.
He put the glass to his lips and drank at one gulp. A cry followed; he reeled, staggered, clutched at the table and held on, staring with injected eyes, gasping with open mouth; and as I looked there came, I thought, a change--he seemed to swell--his face became suddenly black and the features seemed to melt and alter--and the next moment, I had sprung to my feet and leaped back against the wall, my arms raised to shield me from that prodigy, my mind submerged in terror.
transformation physique (prétexte à automythologie : creature / savage / hunt / brute / satan etc) : le médecin en Colomb de son propre corps : younger, slighter, bolder
*
Hyde, créature de rêve : quickness de rêve
*
J/H : +/-//-/+ : la polarité n'est pas pertinente (elle est réversible), c'est l'écart qui importe : une 'distance personnelle' figure de l'Evènement*/aletheia*/épiphanie* : Ext.
*
auto-mythologie : le récit de J |- réel/vrai/logomythie: le rapprochement.
*
naturellement, le rapprochement est subjectivement vécu (et conté) depuis J (et ses équivalents Utterson et Lanyon).
L'asymétrie se retrouve dans la 'victoire' de Hyde : mue faustienne de J.
*
premiers contacts avec la 'bête' :
He must be deformed somewhere; he gives a strong feeling of deformity, although I couldn't specify the point. He's an extraordinary looking man, and yet I really can name nothing out of the way. No, sir; I can make no hand of it; I can't describe him. And it's not want of memory; for I declare I can see him this moment."
de-formity / extraordinary looking /can name nothing .. : in-défini, et pourtant I can see him this moment : réel/logos (autre twilight)
The other snarled aloud into a savage laugh; and the next moment, with extraordinary quickness, he had unlocked the door and disappeared into the house.
extraordinary est extraordinaire ds le texte : 2 mentions seulement, dénotant Hyde uniquement.
on note, outre savage, quickness, répété dans la description de Poole, le majordome :
"But if you mean, was it Mr. Hyde?--why, yes, I think it was! You see, it was much of the same bigness; and it had the same quick, light way with it;My reason wavered, but it did not fail me utterly. I have more than once observed that in my second character, my aculties seemed sharpened to a point and my spirits more tensely elastic; thus it came about that, where Jekyll perhaps might have succumbed, Hyde rose to the importance of the moment.
quickness, elasticity de l'esprit également donc (on peut supposer que Henry Jekyll, M.D., D.C.L., L.L.D.,F.R.S., etc n'est pas un esprit lent...), rose to the importance of the Moment / aletheia / Ereignis
force prodigieuse, malgré une petite taille : tout en muscle :
The stick with which the deed had been done, although it was of some rare and very tough and heavy wood, had broken in the middle under the stress of this insensate cruelty
But when I slept, or when the virtue of the medicine wore off, I would leap almost without transition (for the pangs of transformation grew daily less marked) into the possession of a fancy brimming with images of terror, a soul boiling with causeless hatreds, and a body that seemed not strong enough to contain the raging energies of life. The powers of Hyde seemed to have grown with the sickliness of Jekyll.
With Jekyll, it was a thing of vital instinct. He had now seen the full deformity of that creature that shared with him some of the phenomena of consciousness, and was co-heir with him to death: and beyond these links of community, which in themselves made the most poignant part of his distress, he thought of Hyde, for all his energy of life, as of something not only hellish but inorganic. This was the shocking thing; that the slime of the pit seemed to utter cries and voices; that the amorphous dust gesticulated and sinned; that what was dead, and had no shape, should usurp the offices of life. And this again, that that insurgent horror was knit to him closer than a wife, closer than an eye; lay caged in his flesh, where he heard it mutter and felt it struggle to be born; and at every hour of weakness, and in the confidence of slumber, prevailed against him, and deposed him out of life.
la vie brute, pas juste brutish, péniblement reconnue par Jekyll : a body that seemed not strong enough to contain the raging energies of life, dont Jekyll veut croire qu'il est inorganic, amorphous, bien que knit to him closer than a wife, struggling to be born, et deposing him à tout heure du jour et de la nuit.
I was the first that could plod in the public eye with a load of genial respectability, and in a moment, like a schoolboy, strip off these lendings and spring headlong into the sea of liberty. But for me, in my impenetrable mantle, the safety was complete.
like a schoolboy < youth
I was the first that could plod in the public eye with a load of genial respectability, and in a moment, like a schoolboy, strip off these lendings and spring headlong into the sea of liberty. But for me, in my impenetrable mantle, the safety was complete.
like a schoolboy < youth
spring headlong < quick
sea of liberty
Yes, I preferred the elderly and discontented doctor, surrounded by friends and cherishing honest hopes; and bade a resolute farewell to the liberty, the comparative youth, the light step, leaping impulses and secret pleasures, that I had enjoyed in the disguise of Hyde.
Yes, I preferred the elderly and discontented doctor, surrounded by friends and cherishing honest hopes; and bade a resolute farewell to the liberty, the comparative youth, the light step, leaping impulses and secret pleasures, that I had enjoyed in the disguise of Hyde.
liberty, youth, light step, leaping impulses
secret pleasures
And yet when I looked upon that ugly idol in the glass, I was conscious of no repugnance, rather of a leap of welcome.
I do not suppose that, when a drunkard reasons with himself upon his vice, he is once out of five hundred times affected by the dangers that he runs through his brutish, physical insensibility;
The most racking pangs succeeded: a grinding in the bones, deadly nausea, and a horror of the spirit that cannot be exceeded at the hour of birth or death. Then these agonies began swiftly to subside, and I came to myself as if out of a great sickness. There was something strange in my sensations, something indescribably new and, from its very novelty, incredibly sweet. I felt younger, lighter, happier in body; within I was conscious of a heady recklessness, a current of disordered sensual images running like a millrace in my fancy, a solution of the bonds of obligation, an unknown but not an innocent freedom of the soul. I knew myself, at the first breath of this new life, to be more wicked, tenfold more wicked, sold a slave to my original evil; and the thought, in that moment, braced and delighted me like wine. I stretched out my hands, exulting in the freshness of these sensations; and in the act, I was suddenly aware that I had lost in stature.
new + life : re/naissance. ré-juvénation : something indescribably new and, from its very novelty, incredibly sweet, younger, lighter, happier in body, first breath, I stretched, freshness, sensations,
secret pleasures
And yet when I looked upon that ugly idol in the glass, I was conscious of no repugnance, rather of a leap of welcome.
I do not suppose that, when a drunkard reasons with himself upon his vice, he is once out of five hundred times affected by the dangers that he runs through his brutish, physical insensibility;
The most racking pangs succeeded: a grinding in the bones, deadly nausea, and a horror of the spirit that cannot be exceeded at the hour of birth or death. Then these agonies began swiftly to subside, and I came to myself as if out of a great sickness. There was something strange in my sensations, something indescribably new and, from its very novelty, incredibly sweet. I felt younger, lighter, happier in body; within I was conscious of a heady recklessness, a current of disordered sensual images running like a millrace in my fancy, a solution of the bonds of obligation, an unknown but not an innocent freedom of the soul. I knew myself, at the first breath of this new life, to be more wicked, tenfold more wicked, sold a slave to my original evil; and the thought, in that moment, braced and delighted me like wine. I stretched out my hands, exulting in the freshness of these sensations; and in the act, I was suddenly aware that I had lost in stature.
new + life : re/naissance. ré-juvénation : something indescribably new and, from its very novelty, incredibly sweet, younger, lighter, happier in body, first breath, I stretched, freshness, sensations,
There was no mirror, at that date, in my room; that which stands beside me as I write, was brought there later on and for the very purpose of these transformations. The night however, was far gone into the morning--the morning, black as it was, was nearly ripe for the conception of the day--the inmates of my house were locked in the most rigorous hours of slumber; and I determined, flushed as I was with hope and triumph, to venture in my new shape as far as to my bedroom.
baroque/gothique anglais, remontant au moins à Shakespeare : 'ripe for the conception of the day'.
contraste entre le silence baignant la demeure et la re/naissance de Hyde.
I crossed the yard, wherein the constellations looked down upon me, I could have thought, with wonder, the first creature of that sort that their unsleeping vigilance had yet disclosed to them; I stole through the corridors, a stranger in my own house; and coming to my room, I saw for the first time the appearance of Edward Hyde.
I crossed the yard, wherein the constellations looked down upon me, I could have thought, with wonder, the first creature of that sort that their unsleeping vigilance had yet disclosed to them; I stole through the corridors, a stranger in my own house; and coming to my room, I saw for the first time the appearance of Edward Hyde.
the constellations looked down upon me with wonder : CF Macbeth
stole / quick
stranger : re-né
The creature who crept into my house that night was, on Jekyll's own confession, known by the name of Hyde and hunted for in every corner of the land as the murderer of Carew.
The creature who crept into my house that night was, on Jekyll's own confession, known by the name of Hyde and hunted for in every corner of the land as the murderer of Carew.
l'animal traqué
De même Lanyon, l'éternel rival :
I saw what I saw, I heard what I heard, and my soul sickened at it; and yet now when that sight has faded from my eyes, I ask myself if I believe it, and I cannot answer.
Voilà Utterson, bachelor mort-vivant :
Mr. Utterson the lawyer was a man of a rugged countenance that was never lighted by a smile; cold, scanty and embarrassed in discourse; backward in sentiment; lean, long, dusty, dreary and yet somehow lovable
qui s'éveille lui aussi au contact de la (transformation de) la bête : surprise : vie
la transformation r/éveille le lawyer.
*
*
Hyde né 2 fois : https://www.theguardian.com/uk/2000/oct/25/books.booksnews
Saturday, 3 September 2022
2C XII-figures du réel XXIII : capital/croissance itérative
arts, sciences, capital, vertus < croissance itérative
*
capital : état n d'une croissance, mémoire, accrétion, cumsum
*
Heidegger n'a rien compris à ce qu'il désigne par Gestell / Machenschaft. Il n'est pas le seul.
*
capital : état n d'une croissance, mémoire, accrétion, cumsum
*
Heidegger n'a rien compris à ce qu'il désigne par Gestell / Machenschaft. Il n'est pas le seul.
*
Sa méconnaissance de la croissance scientifique est proprement stupéfiante.
*
il n'y a probablement pas de raison autre que documentaire de faire commencer une histoire du capitalisme* au XVIe, comme le fait Braudel.
*
Zhuangzi : 胠篋 [ctext.org]
将为胠箧、探囊、发匮之盗而为守备，则必摄缄、縢，固扃、鐍，此世俗之所谓知也。然而巨盗至，则负匮、揭箧、担囊而趋，唯恐缄、縢、扃、鐍之不固也。然则乡之所谓知者，不乃为大盗积者也？故尝试论之，世俗之所谓知者，有不为大盗积者乎？所谓圣者，有不为大盗守者乎？何以知其然邪？昔者齐国邻邑相望，鸡狗之音相闻，罔罟之所布，耒耨之所刺，方二千馀里。阖四竟之内，所以立宗庙社稷，治邑、屋、州、闾、乡曲者，曷尝不法圣人哉！然而田成子一旦杀齐君而盗其国。所盗者岂独其国邪？并与其圣知之法而盗之。故田成子有乎盗贼之名，而身处尧、舜之安，小国不敢非，大国不敢诛，十二世有齐国。则是不乃窃齐国，并与其圣知之法，以守其盗贼之身乎？尝试论之，世俗之所谓至知者，有不为大盗积者乎？所谓至圣者，有不为大盗守者乎？何以知其然邪？昔者龙逢斩，比干剖，苌弘胣，子胥靡，故四子之贤而身不免乎戮。故盗跖之徒问于跖曰：“盗亦有道乎？”跖曰：“何适而无有道邪？夫妄意室中之藏，圣也；入先，勇也；出后，义也；知可否，知也；分均，仁也。五者不备而能成大盗者，天下未之有也。”由是观之，善人不得圣人之道不立，跖不得圣人之道不行；天下之善人少而不善人多，则圣人之利天下也少而害天下也多。
In taking precautions (守) against thieves who cut open satchels, search bags, and break open boxes, people are sure to cord and fasten them well, and to employ strong bonds and clasps (缄縢固扃鐍); and in this they are ordinarily said to show their wisdom. When a great thief comes, however, he shoulders the box, lifts up the satchel, carries off the bag, and runs away with them, afraid only that the cords, bonds, and clasps may not be secure; and in this case what was called the wisdom (of the owners) proves to be nothing but a collecting (积) of the things for the great thief. Let me try and set this matter forth. Do not those who are vulgarly called wise prove to be collectors for the great thieves? And do not those who are called sages prove to be but guardians (守) in the interest of the great thieves? How do I know that the case is so?
Formerly, in the state of Qi, the neighbouring towns could see one another; their cocks and dogs never ceased to answer the crowing and barking of other cocks and dogs (between them). The nets were set (in the water and on the land); and the ploughs and hoes were employed over more than a space of two thousand li square. All within its four boundaries, the establishment of the ancestral temples and of the altars of the land and grain, and the ordering of the hamlets and houses, and of every corner in the districts, large, medium, and small, were in all particulars according to the rules (法) of the sages (圣人). So it was;
but yet one morning, Tian Cheng-zi killed the ruler of Qi, and stole his state. And was it only the state that he stole? Along with it he stole also the regulations of the sages and wise men (observed in it). And so, though he got the name of being a thief and a robber, yet he himself continued to live as securely as Yao and Shun had done. Small states did not dare to find fault with him; great states did not dare to take him off; for twelve generations (his descendants) have possessed the state of Qi. Thus do we not have a case in which not only did (the party) steal the state of Qi, but at the same time the regulations (法) of its sages and wise (圣知) men , which thereby served to guard (守) the person of him, thief and robber as he was?
Let me try to set forth this subject (still further). Have not there been among those vulgarly styled the wisest, such as have collected (积) (their wealth) for the great chief? And among those styled the most sage such as have guarded (守) it for him? How do I know that it has been so? Formerly, Long-feng was beheaded; Bi-gan had his heart torn out; Chang Hong was ripped open; and Zi-xu was reduced to pulp (in the Chang). Worthy as those four men were, they did not escape such dreadful deaths.
The followers of the robber Zhi asked him, saying, 'Has the robber also any method or principle (in his proceedings)?' He replied, 'What profession is there which has not its principles? That the robber in his recklessness comes to the conclusion that there are valuable deposits in an apartment shows his sageness(圣); that he is the first to enter it shows his bravery(勇); that he is the last to quit it shows his righteousness(义); that he knows whether (the robbery) may be attempted or not shows his wisdom(知); and that he makes an equal division of the plunder shows his benevolence(仁). Without all these five qualities no one in the world has ever attained to become a great robber.' Looking at the subject in this way, we see that good men do not arise without having the principles of the sages, and that Zhi could not have pursued his course without the same principles. But the good men in the world are few, and those who are not good are many - it follows that the sages benefit the world in a few instances and injure it in many.
*
il n'y a probablement pas de raison autre que documentaire de faire commencer une histoire du capitalisme* au XVIe, comme le fait Braudel.
*
Zhuangzi : 胠篋 [ctext.org]
将为胠箧、探囊、发匮之盗而为守备，则必摄缄、縢，固扃、鐍，此世俗之所谓知也。然而巨盗至，则负匮、揭箧、担囊而趋，唯恐缄、縢、扃、鐍之不固也。然则乡之所谓知者，不乃为大盗积者也？故尝试论之，世俗之所谓知者，有不为大盗积者乎？所谓圣者，有不为大盗守者乎？何以知其然邪？昔者齐国邻邑相望，鸡狗之音相闻，罔罟之所布，耒耨之所刺，方二千馀里。阖四竟之内，所以立宗庙社稷，治邑、屋、州、闾、乡曲者，曷尝不法圣人哉！然而田成子一旦杀齐君而盗其国。所盗者岂独其国邪？并与其圣知之法而盗之。故田成子有乎盗贼之名，而身处尧、舜之安，小国不敢非，大国不敢诛，十二世有齐国。则是不乃窃齐国，并与其圣知之法，以守其盗贼之身乎？尝试论之，世俗之所谓至知者，有不为大盗积者乎？所谓至圣者，有不为大盗守者乎？何以知其然邪？昔者龙逢斩，比干剖，苌弘胣，子胥靡，故四子之贤而身不免乎戮。故盗跖之徒问于跖曰：“盗亦有道乎？”跖曰：“何适而无有道邪？夫妄意室中之藏，圣也；入先，勇也；出后，义也；知可否，知也；分均，仁也。五者不备而能成大盗者，天下未之有也。”由是观之，善人不得圣人之道不立，跖不得圣人之道不行；天下之善人少而不善人多，则圣人之利天下也少而害天下也多。
In taking precautions (守) against thieves who cut open satchels, search bags, and break open boxes, people are sure to cord and fasten them well, and to employ strong bonds and clasps (缄縢固扃鐍); and in this they are ordinarily said to show their wisdom. When a great thief comes, however, he shoulders the box, lifts up the satchel, carries off the bag, and runs away with them, afraid only that the cords, bonds, and clasps may not be secure; and in this case what was called the wisdom (of the owners) proves to be nothing but a collecting (积) of the things for the great thief. Let me try and set this matter forth. Do not those who are vulgarly called wise prove to be collectors for the great thieves? And do not those who are called sages prove to be but guardians (守) in the interest of the great thieves? How do I know that the case is so?
Formerly, in the state of Qi, the neighbouring towns could see one another; their cocks and dogs never ceased to answer the crowing and barking of other cocks and dogs (between them). The nets were set (in the water and on the land); and the ploughs and hoes were employed over more than a space of two thousand li square. All within its four boundaries, the establishment of the ancestral temples and of the altars of the land and grain, and the ordering of the hamlets and houses, and of every corner in the districts, large, medium, and small, were in all particulars according to the rules (法) of the sages (圣人). So it was;
but yet one morning, Tian Cheng-zi killed the ruler of Qi, and stole his state. And was it only the state that he stole? Along with it he stole also the regulations of the sages and wise men (observed in it). And so, though he got the name of being a thief and a robber, yet he himself continued to live as securely as Yao and Shun had done. Small states did not dare to find fault with him; great states did not dare to take him off; for twelve generations (his descendants) have possessed the state of Qi. Thus do we not have a case in which not only did (the party) steal the state of Qi, but at the same time the regulations (法) of its sages and wise (圣知) men , which thereby served to guard (守) the person of him, thief and robber as he was?
Let me try to set forth this subject (still further). Have not there been among those vulgarly styled the wisest, such as have collected (积) (their wealth) for the great chief? And among those styled the most sage such as have guarded (守) it for him? How do I know that it has been so? Formerly, Long-feng was beheaded; Bi-gan had his heart torn out; Chang Hong was ripped open; and Zi-xu was reduced to pulp (in the Chang). Worthy as those four men were, they did not escape such dreadful deaths.
The followers of the robber Zhi asked him, saying, 'Has the robber also any method or principle (in his proceedings)?' He replied, 'What profession is there which has not its principles? That the robber in his recklessness comes to the conclusion that there are valuable deposits in an apartment shows his sageness(圣); that he is the first to enter it shows his bravery(勇); that he is the last to quit it shows his righteousness(义); that he knows whether (the robbery) may be attempted or not shows his wisdom(知); and that he makes an equal division of the plunder shows his benevolence(仁). Without all these five qualities no one in the world has ever attained to become a great robber.' Looking at the subject in this way, we see that good men do not arise without having the principles of the sages, and that Zhi could not have pursued his course without the same principles. But the good men in the world are few, and those who are not good are many - it follows that the sages benefit the world in a few instances and injure it in many.
积 : to amass / to accumulate / to store / measured quantity (such as area of volume) / to integrate (math.) : capital(iser)
qu'est-ce qui est accumulé : des biens gardés 守 dans des coffres, des techniques 缄縢固扃鐍, des temples, des terres, des Etats, des règles, mais aussi un savoir faire : sagesse 圣, connaissance 知, vertus 勇义仁.
Or tout cela est gardé 守 pour être transmis itérativement, à qui que ce soit prêt à en faire usage, 'sages' ou 'voleurs' : c'est la 'neutralité technique', neutralité logique devrait on dire, puisque il s'agit aussi de loi, de valeurs éthiques, de savoir faire, etc.
Au demeurant le couple sage/voleur est réversible, c'est le sens même du texte : Tian Cheng-zi voyou quand il vole le Qi et commet un parricide, est sage par le savoir faire et les cinq vertus qui lui permettent d'usurper le trône et les lois dont il devient l'héritier et qui lui assurent pérennité (sur 12 générations). Les 'sages', en livrant 'clefs sur les coffres' les trésors matériels et immatériels de l'Etat sont des facilitateurs de l'usurpation délictueuse.
La symétrie est filée tout le long du texte, et ce dès la première phrase
将*为胠箧、探囊、发匮之盗 // 而*为守备，则必摄缄、縢，固扃、鐍...
Saturday, 27 August 2022
figures du réel XXII : Ô Référence
authentifier le réel : vérité*. Ceci est parce qu'un label (dans l'arrière cour) l'authentifie.
(Attestation d') Existence* = vérité* = authentification.
*
"C'est authentifier par… ": le On (Heidegger) < authentification
*
Lui sacrifier : "Ô Référence..."
*
"...c'est évident..." :
"évidence" comme logos-référence vs Evidence comme surprise
*
(en formule :)
"évidence" → logos-référence ⊦ Evidence → surprise
*
"arrière monde" (Nietzsche) < arrière cour : logos-référence
Saturday, 16 July 2022
Wednesday, 29 June 2022
Figures du réel XX : cohomologie ontothéologique
natL, selon Borges : cohomologie
*
Jé-suⁱs n'est il pas l'auto/eur des évangiles ? À moins qu'il ne 'soit' Shakespeare…
*
Papillon de Zhuangzi : ne suis jeᵘ pas d'ailleurs Jé-suⁱs ?
*
εὐαγγέλιον : sur scène : homo-messager / dx, homo-étant / pauvre pêcheur (Da-seⁱⁿ)
homo / Dasein : joᵘ-ant à / (s)e-st dx. À quoi d'autre ?
Odysseus / Athéna
Mise-en-scène ontothéologique
*
Passe muraille : jeᵘ réflexif : jeᵘ s'écrivant.
Être s'ét-étant.
ubiquité macbethienne
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homo : ὁμός, même, auto/eur, autant dire personne : οὐδείς, tantôt da, tantôt seⁱⁿ : μῆτις
2C X : Oedipe → Macbeth
OMP : contamination en jeᵘ
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OMP : effervescence en jeᵘ : Wesung des Seyns
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OMP : épiphanie du dx, épiphanie du jeᵘ
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Nous lisons Macbeth depuis Οἰδίπους τύραννος (CF figures du réel : Œdipe Roi), comme nous lisions les Beiträge depuis La Jalousie (2C VIII : illumination, dessus du dessous).
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By the pricking of my thumbs
Something wicked this way comes
(ὑπὲρ γὰρ οὐχὶ τῶν ἀπωτέρω φίλων,)
ἀλλ᾽ αὐτὸς τοῦτ᾽ ἀποσκεδῶ μύσος.
(138)
[ἀποσκεδῶ < ἀπο-σκίζω : on ne peut mieux dire...]
*
de brillant guerrier
le sergeant fait un récit mythologique de l'égal du Best of the Acheans
Doubtful it stood;
As two spent swimmers, that do cling together
And choke their art. The merciless Macdonwald--
Worthy to be a rebel, for to that
The multiplying villanies of nature
Do swarm upon him--from the western isles
Of kerns and gallowglasses is supplied;
And fortune, on his damned quarrel smiling,
Show'd like a rebel's whore: but all's too weak:
For brave Macbeth--well he deserves that name--
Disdaining fortune, with his brandish'd steel,
Which smoked with bloody execution,
Like valour's minion carved out his passage
Till he faced the slave;
Which ne'er shook hands, nor bade farewell to him,
Till he unseam'd him from the nave to the chaps,
And fix'd his head upon our battlements.
Ross en présence du Roi, dans le même registre :
He finds thee in the stout Norweyan ranks,
Nothing afeard of what thyself didst make,
Strange images of death.
Macbeth, devenu roi, est proprement le masque de l'avilissement, et la peur, qu'il ignorait avant de croiser les Weirds Sisters, devient sa seule compagne. (métamorphose parfaitement rendu chez Welles).
Nous montrons que Macbeth est œdipien, mais en travestit 'superficiellement' le schéma, ce que nous représenterions ainsi :
h ⇋ d ⊩ h⟲
Οἰδίπους τύραννος :
enquête judiciaire. Très singulière : c'est le 'coupable' qui enquête...
superficiellement (argument) : l'échec dans la réussite même. (gloussement de plaisir du petit peuple)
en fait : Œdipe (monsieur tout le monde ou presque) se cogne au réel. réel grec : Apollon, brutal comme un D peut l'être (CF : figures du réel XIX : dieu dans le dos, dieu en face ). ou un H : H/D. Œdipe se fait mal.
Il faut qu'il y ait un échec pour sortir de 𝞚 (L chuté, renversé), marâtre rassurante, pour revenir à L. à l'endroit.
La tragédie est la forme théâtrale de cet échec programmatique : représentation de 𝞚 parodie de L.
La tragédie déconstruit 𝞚 : c'est son seul objectif. D'où cette impression de mal de mer : anomalie magnétique; Bermudes.
Aussi 'sur scène' a t-on dès le début les deux visages, les deux boucles du nœud plat : l'apparence* (Œdipe sauveur de Thèbes) et la vérité* (Œdipe la souillure). Mais cette vérité* n'est pas un aboutissement terminal. Juste un élément du dispositif d'ascension. Car ici Sophocle n'est pas à la recherche d'une hypothétique vérité*. Mais d'une dissolution grothendickienne ou heideggérienne (Patras, La pensée mathématique contemporaine) : (faire) écouter enfin.
le Logos, le vrai, c'est-à-dire (la forme de) l'ambiguïté H/D, est rompu par 𝞚, le langage raisonné (dont l'enquête est une matérialisation accessoire/accidentelle).
La vérité* - les faits - ne sont pas le premier sujet d'Œdipe : c'est la 'méthode' œdipienne qui est visée, comme maniaco-philologique : 𝞚. Heidegger dit : technique.
Il faut que la vérité* soit sur scène dès le début (souillure, puis Calchas) pour que le spectacle de 𝞚 ressemble à un pendu gesticulant au bout de son fil - cela pendant 3h de représentation !
Macbeth :
C'est moins net dans Macbeth : le christianisme, le roman ont déformé le mythe.
Shakespeare construit un (dispositif) roman(esque) qui obstrue partiellement le fond tragique : le roman d'une ascension sociale, fondée sur de soi-disantes prophéties, qui fixent l'ambiguïté de la responsabilité* de Macbeth. Donc ici pas de méthode logique. Juste un logos rapporté. Le langage est bien pipé, mais il est d'un tiers. Bien sûr subsiste le doute : qu'est-ce qui est sans ambiguïté, qu'est-ce qui est interprété par Macbeth ?
Œdipe cherche la vérité. Il se bat pour le bien. Il a tout fait pour contrecarrer une terrible prophétie. Macbeth est un ambitieux cherchant dans le marc de café de quoi se rassurer.
Ou un fou, une sorte d'Ajax (mais Athéna fait chuté Ajax, comme Apollon Œdipe). Il s'ébat dans un monde de confusion. Cherche un fil conducteur, s'y accroche. Mais même le fil le lâche. C'est un être déchu condamné par ses propres pairs (Malcolm, Macduff). La logique chrétienne est à l'œuvre, Macbeth succombe à la tentation. Tenté, il faute. Les marqueurs chrétiens du tentateur sont évidents : des femmes, les Weirds Sisters, puis Lady Macbeth, dont le fameux monologue est très explicite:
LADY MACBETH
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty! make thick my blood;
Stop up the access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect and it! Come to my woman's breasts,
And take my milk for gall, you murdering ministers,
Wherever in your sightless substances
You wait on nature's mischief! Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry 'Hold, hold!'
Donc deux type de femmes fatales : la repoussante, âgée, et la séduisante, jeune.
Mais les deux vendues aux forces obscures. Les unes séduisent le mari, avec de douce promesses de grandeurs. L'autre se charge de Duncan. Polanski donne à voir, dans une longue et brillante scène de fête en l'honneur de l'arrivée de Duncan (entièrement sans dialogue puisque non mentionnée dans le texte), une Lady Macbeth adorable, ultra séduisante, faisant danser Duncan. Serpent. Fruit.
Dans sa version, Welles met en scène une messe à l'arrivée de Duncan chez les Macbeth; Ross y est un homme d'église (le personnage de Ross est très flou dans la pièce, au point que Polanski inverse son statut par rapport à Welles : Ross est peint en arriviste, homme de main du roi Macbeth).
La polarité jour/nuit est partout présente (et Wells en use d'autant qu'il filme en noir et blanc). A commencer par la coupure nette entre l'avant et l'après (premier) meurtre : ascension et chute, ombre et lumière (incarnée par la tradition : Malcolm, fils de Duncan, et l'Angleterre qui joint ses forces à celle de Malcolm), usurpation et légitimité.
Macbeth n'a aucune méth-ode : il ne connait que le meurtre, et s'y applique, en technicien assassin : il subit. Œdipe est prométhéen; ses seules armes sont le géni de l'espèce. Même à terre, il demeure. Aveugle par ses seuls mains, il voit, à présent : H/D.
Macbeth est abattu, tel un chien enragé.
Pourtant le mythe originel : 𝞚 comme chute de L, le logos judiciaire/scientifique comme dé-voiement/im-passe de l'être H/D, est bien là. On a bien un personnage qui se fait avoir sur son terrain d'excellence, du moins celui de son espèce. Le seul d'ailleurs, selon Prométhée : logos.
Mais Shakespeare n'a peut être déjà plus les clefs de Sophocle. D a disparu, pour le coup complétement. Ne reste que des pantins puants, des Sœurs en guenille.
Exit Apollon. Cette disparition est concomitante de celle de l'homme grec : l'être H/D.
D'où ce h⟲, cet homme-qui-tourne-en-rond, qui ne sait que se réfléchir, qui ne pense plus (Heidegger).
En dépit de ses travestissement, le mythe œdipien traverse Macbeth de part en part, essentiellement. Qui ne se reconnait en Macbeth ? Wells acteur fait ici bien mieux que le beau Jon Finch (Polanski) : faible d'abord (première partie), plat devant sa ravissante et terrible épouse (Francesca Annis), puis brutalement idiot (deuxième partie).
Wells fait vivre une ambiguïté essentielle à la pièce, qui est celle du mythe : H/D.
qui vit encore dans la Scène shakespearienne: théâtre-scène-monde.
scène trouble, dès le premier vers :
when shall we three meet again ?
Nul part, du moins nul part en particulier : d'où et par qui - we - est prononcée la phrase?
les Sœurs, dit le texte. Mais est ce bien sûr ?
quand l'est-elle ? sur quel ‘futur’ porte le shall ?
Sitôt dit, Macbeth et Macduff apparaissent chez Wells : entorse au texte : raccourcie.
Katharine Duckett signale cette version d'Alan Cumming à Broadway, où il était seul en scène, jouant alternativement tous les rôles... Les Soeurs arrivent-elles quand Macbeth les appellent, ou est ce l'inverse ?
la contraction du temps et de l'espace chez Shakespeare est à l'œuvre partout dans la première partie : Duncan évoque le masque humain et ses mensonges, et aussitôt Macbeth apparait (fatal entrance...)
DUNCAN
There's no art
To find the mind's construction in the face:
He was a gentleman on whom I built
An absolute trust.
Enter MACBETH, BANQUO, ROSS, and ANGUS
O worthiest cousin!
Les Sœurs sont l'ubiquité même :
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
...
I myself have all the other,
And the very ports they blow,
All the quarters that they know
I' the shipman's card.
I will drain him dry as hay:
Sleep shall neither night nor day
Hang upon his pent-house lid;
He shall live a man forbid:
Weary se'nnights nine times nine
Shall he dwindle, peak and pine:
Though his bark cannot be lost,
Yet it shall be tempest-tost.
Look what I have.
Second Witch
Show me, show me.
First Witch
Here I have a pilot's thumb,
Wreck'd as homeward he did come.
Drum within
Third Witch
A drum, a drum!
Macbeth doth come.
ALL
The weird sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about
Quand bout leur chaudron, le monde se trouble :
double double toil and trouble
fire burn and cauldron bubble
'Hypothèse du continu', version poétique.
Duncan, Lady Macbeth, Macbeth : chacun “dépend” de l’autre.
Duncan donne à Macbeth prétexte à sa liquidation, en lui donnant un motif ‘sérieux’ (Malcolm) :
MACBETH[Aside]
The Prince of Cumberland! that is a step On which I must fall down, or else o'erleap, For in my way it lies.
… ce qui n'aurait encore pas suffit si Lady Macbeth ne l’avait pas pousser.
Les vers sont un seul écho enchevêtré :
if it were done when ’tis done, then ’twere well
It were done quickly
'réminiscence' du "where shall we…" des Soeurs.
Lady Macbeth répond à Duncan :
LADY MACBETH
All our service
In every point twice done and then done double
Were poor and single business to contend
Against those honours deep and broad wherewith
Your majesty loads our house: for those of old,
And the late dignities heap'd up to them,
We rest your hermits.
à peu de chose près ce que son mari lui disait 'il y a un instant' :
MACBETH
The rest is labor which is not used for you;
I'll be myself the harbinger and make joyful
The hearing of my wife with your approach
Cette texture du continu permet de maintenir l'ambiguïté Œdipienne (grecque plus généralement) : H/D/L. Macbeth veut savoir, entend sauter dans l'inconnu (jump the life to come) quel qu'en soit le prix :
MACBETH
I will be satisfied: deny me this,
And an eternal curse fall on you! Let me know.
Il choisit de mourir en soldat, au moment même où il comprend enfin son destin. C'est sa liberté.
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