{"id":12699,"date":"2022-01-12T11:04:58","date_gmt":"2022-01-12T14:04:58","guid":{"rendered":"https:\/\/site.claricelispector.ims.com.br\/?p=12699"},"modified":"2022-01-26T11:45:32","modified_gmt":"2022-01-26T14:45:32","slug":"idiocy-and-holiness","status":"publish","type":"post","link":"https:\/\/site.claricelispector.ims.com.br\/en\/2022\/01\/12\/idiocy-and-holiness\/","title":{"rendered":"Idiocy and Holiness"},"content":{"rendered":"\n

Michel de Certeau, in his La fable mystique<\/em>, addresses an important aspect in the relation between idiocy and holiness in the first centuries, particularly in Christian literature, namely: a mode of isolation in the crowd. Idiocy, in the form of madness, is attributed to the crowd, and additionally, is established as a provocation, a transgression in the field of the \u201cright-minded.\u201d Idiots (saloi<\/em>) are figures who affront social conventions and ecclesiastical precepts. Certeau encounters in the Lausiac History,<\/em> by Palladius, a model for thinking about the narratives of nuns and monks, in monasteries and cities between the 4th and 6th centuries, as a showcase in which idiocy and holiness intersect in the form of examples in which perdition founds an in-between space where idiots (saloi<\/em>), madmen (m\u00f4roi<\/em>), and saints challenge, in the form of spells and wonders, the status of language and wisdom.<\/p>\n\n\n\n

Faced with a discourse that seeks to reestablish normal order through the negation of gestures, bodies, actions, laughs, which are considered as confrontations, deviations, and destructurations of normality, idiocy, confused with a simulation of madness, in the public sphere of the first centuries, was easily considered as an absence of rationality, and therefore required reclusion.  It is in this sense that a statement such as \u201cit is nothing, he\u2019s an idiot\u201d would represent, for Certeau, a frustrated attempt to reduce idiocy to the condition of silence, since, in the case of these women and men lost in their sacred deserts, their postures potentiated their strength and their lucidity packed by a spiritual cynicism that intervened in privileged places of meaning.<\/p>\n\n\n\n

If Certeau encounters, in these narratives, the necessary images for one to think of an inversion of the classic dichotomies between wisdom and ignorance, madness and lucidity, profane and sacred, it is possible to say that the texts of Clarice Lispector, since her first novel, bear the decisive mark of a writing that, like Marguerite Duras, sought to elevate, in the words of Laurent Mauvignier (2012), \u201cthe disinherited, needy, and idiots to pure poetry.\u201d Such that this article seeks to add to those that have already been published, which problematize the relation between madness and unreason in the context of modern literature, such as J.M. Wisnik (1988) and Yudith Rosenbaum (2019), not focusing on the common aspects that madness, in the wake of Foucaultian thinking, has assumed since Classical Antiquity, when it was considered as divine (mania<\/em>), until its characterization as a mental illness, but daring to think of it, in connection with idiocy, as an expression of a deep spiritual sentiment that guides Lispector\u2019s work in connection with the medieval Christian tradition.<\/p>\n\n\n\n

To do so, I will dwell more specifically on The Hour of the Star<\/em>, considering Macabea, a character \u201cso ancient that she could be a biblical figure,\u201d as the ultimate expression of a war led by a heroine, who like Judas Maccabeus (166-160 BC) fought to death on a battlefield for freedom. Before we focus on the novel The Hour of the Star<\/em>, let us see how idiocy, associated with foolishness and madness, figures in some of the author\u2019s novels.<\/p>\n\n\n\n

In Near to the Wild Heart<\/em>, Joana, a \u201cnaked name,\u201d raves in her strange and crazy words that free her, even without understanding. An experience repeated with \u201ceyes closed\u201d and slight surrender. Joana, a figure with \u201cpoor, limited features,\u201d had no beauty of her own and was inexperienced, untouched, a virgin, and naked as an animal. From life to the grave without receiving anything from anyone.  Joana, a fool in the form of a \u201cbody living\u201d in the face of events that, unlike facts, described as \u201cthe tear in the dress,\u201d do not allow revolt but dissolution as a reunion that converges in the overcoming of self, death, the world, and God himself.<\/p>\n\n\n\n

In The Apple in the Dark<\/em>, Martin, after gazing at the \u201cvast emptiness,\u201d walks like a \u201ccontented idiot\u201d who has learned the technique of falling into a \u201cspiritual state\u201d when he needed. An artifice that approximates idiocy and simulation. It is important to observe, once again referring to the story of the idiot narrated by Palladius, the play between real madness and its simulation. Sal\u00ea<\/em>, a character in the story, is described as per\u00ec tes hypoxrinom\u00e9nes mor\u00edan<\/em>, that is, one who simulated madness<\/em>.  Of what does such a task consist?  In \u201ctaking an animal-like attitude of purity\u201d that reveals the very condition of the human being before a truth that bears the mark of irreducibility and madness in the face of the objectivity of facts. It is not by chance that in a dialogue with Vitoria, Martin understands, without understanding, why \u201conly sainthood can save someone.\u201d Sainthood, or holiness, as an impossible task that makes language a betrayal and a resistance in the face of the non-symbolizable thing.<\/p>\n\n\n\n

In The Passion According to G.H.<\/em>, on the other hand, although idiocy does not figure explicitly, we cannot forget that the painful madness of laymen, in the form of an ordeal, is described as a temptation that is contrasted with humanization, that is, the will to empowerment and control of what, in the human, transcends its condition of humanity: life.  Christ, \u201cfoolishness to those who are perishing,\u201d as Paul of Tarsus says in 1 Cor. 1:18, is evoked in the novel as an example of a dangerous way of being that is the ultimate ordeal: \u201cHow can this man give us his flesh to eat?\u201d  (John 6:52).<\/p>\n\n\n\n

Just like G.H., who in a sense ate herself in an orgiastic process of one who eats directly from the source, Christ exhorts one to chew him (trog\u00f4<\/em>) and drink his blood (John 6:54).  It is worth highlighting that, unlike the idiot (sal\u00ea<\/em>) who, in the narrative of Palladius, did not chew anything and confused herself with the very crumbs that composed her body,\u201d G.H. participates in a process of dissolution that reveals the infinitude of the flesh (a vision of madmen) which, when divided, becomes humanized life.  A \u201ctame madness\u201d or a healthy way of \u201cbelonging to a system\u201d that is contrasted with the madness of being in the \u201cthing itself.\u201d  A promising desert, a divine and infernal primary life in which human and inhuman, worldly and unworldly compose a great fabric marked by the grace of existence and by the impersonality of a God who is always current.<\/p>\n\n\n\n

This theme remains in the novel An Apprenticeship or the Book of Pleasures<\/em>, in which we see L\u00f3ri, who had the \u201cidiocy of angels,\u201d experiencing the blessing of having \u201cmadness without being crazy,\u201d \u201ca sweetness of stupidity\u201d that clashes with the desire for understanding that, as such, is described as limited.  Ulysses, who spent his life searching for the \u201cintoxication of holiness,\u201d encounters the holiness of the body, while L\u00f3ri, who struggled all her life against reverie, delves deeply into a glimmer-dream that makes her bite \u201cthe fruit of the world.\u201d A divine power that humanizes, in its condition of non-human, what is human, that is, the affirmation and negation of the will. The im-possible experience of reducing the \u201cI\u201d takes place in the silence that follows the final colon in the novel.<\/p>\n\n\n\n

Recovered in \u00c1gua Viva<\/em>, \u201cthe waiting colon\u201d announces the impossible and intangible experience of death.  It is in the life-death transit that madness \u201cborders the cruellest good sense.\u201d Compared with mathematical abstraction, the \u201cmadness of reason,\u201d this one is distinguished, among other things, by being situated \u201cbeyond the freedom,\u201d which is understood as a \u201cvoid.\u201d Madness is the creation, invention, and affirmation, through speech, of a salvation that is confused with perdition in the face of the certainty of the \u201cillogicality of nature.\u201d A divine madness? Creation as a transfiguration of self and of the world that pulsates in rhythm like a \u201ccrazy mystery.\u201d \u201cLuminous stupidity,\u201d \u201cdizzy\u201d and free as a cat that has given birth, the protagonist of \u00c1gua Viva<\/em> is crazily immersed, from so much beauty, in her follies. A state of grace, not that of saints, but of whoever knows oneself existing in the world.<\/p>\n\n\n\n

In A Breath of Life (Pulsations)<\/em>, both the Author and Angela express their literary-existential conditions, writers\/characters, in the face of foolishness, stupidity, madness, and holiness. Angela attributes to her \u201cessential stupidity\u201d her escape from the objectification that sometimes affects her, describing herself as a \u201csilly woman\u201d who struggles against the \u201cwalls of existence.\u201d  The Author, on the other hand, who describes the book as \u201ca bit crazy,\u201d \u201ca bit the fool,\u201d says that he wants to live exclusively from his \u201cfoolish and fertile meditations\u201d on death and God. In foolishness, therefore, we have a power that produces wisdom. It is interesting to observe the presence of Teresa of \u00c1vila and Catherine of Genoa in Lispector\u2019s writings.  Women, sanctified by their illuminations, but who from the point of view of writing dared to describe their raptures in the form of perdition and idiocy. Teresa, in The<\/em> Book of Her Life<\/em>, when discussing the third degree of prayer, based on the metaphor of water and the garden, describes the joy of the soul precisely based on a \u201cglorious foolishness\u201d and a \u201cheavenly madness\u201d that is a source of \u201ctrue wisdom.\u201d Catherine, in turn, in her Treatise on Purgatory<\/em>, profoundly explores the state of abandon of the soul, which is cited in the novel by Lispector, as a condition for the divine experience, as well as the annihilating and saving character of love. An ecstatic experience that, in the novel, and in the tradition of Neoplatonic mysticism, is described as \u201closing the illusory multiplicity of worldly things.\u201d<\/p>\n\n\n\n

There is certainly an aspect of madness that is not necessarily linked to holiness, but that expresses the very condition of existence of things and of the world.  Madness as a fear in the face of death, as a temptation of being and power. Aspects that also assume, in several passages, the condition of refuge and denial of truth. Nonetheless, additionally, it is necessary to pay attention to the ambiguity that the theme carries and that allows for a consideration of madness, in association with idiocy, as an expression of the realization that living is \u201cmagical and wholly inexplicable.\u201d  <\/p>\n\n\n\n

In The Hour of the Star<\/em>, there is already a curious detail, for the theme considered here, in the \u201cDedication by the Author (actually Clarice Lispector).\u201d In it, we have some references to musicians, enchanted beings such as gnomes, dwarfs, sylphs, and nymphs and also to themes that compose the narrative, as well as the \u201cpersonality\u201d of the Author, who is marked by timeliness, vibration, softening, astonishment, death, transfiguration, and finally, by doubt about destiny. However, it is to Schumann and \u201chis sweet Clara\u201d that the novel is dedicated.  H\u00e9l\u00e8ne Cixous (2017) has already highlighted the \u201cpassage\u201d from the \u201cthing here\u201d to the \u201cI dedicate it\u201d as an expression of the relation between the composition of the subject and the unsayability of gender. Beyond this possible reading, these allusions by Clarice, which go from the medieval to the contemporary, from the tonal to the atonal, reveal much about the composition of the novel as a distinct unity that is constructed without a central and unique chord.<\/p>\n\n\n\n

Although described as an \u201cexterior and explicit\u201d narrative marked by a beginning, middle, and \u201cgrand finale\u201d followed by silence, the text carries secrets of life in its most \u201cprimary\u201d conception. It is blood that pulsates and that grants emptiness the value of fullness.  Her character, a Northeastern girl who multiplies into thousands without faces and bodies, demands the right to scream as an image of multiple voices clamoring. Macab\u00e9a, a person who \u201cscarcely has a body,\u201d who is \u201ca virgin and harmless,\u201d wanders among bodies in a city \u201centirely against her.\u201d<\/p>\n\n\n\n

Macab\u00e9a, just like the idiot (sal\u00ea<\/em>) who tied a strip to her head as an identification of her idiocy, bears deep marks that range from habits to physical aspects such as her narrow yellow face, her curved shoulders, her stained body (\u201ca cloth\u201d) \u201cfull of holes\u201d; nevertheless, no description comes closer than the fact that both idiots live \u201cin an impersonal limbo.\u201d In the Lausiac History<\/em>, we read that the sal\u00ea<\/em> was content with crumbs, leftovers, and the water from the pots that she herself scoured. Without ever having shared her food with the other nuns (400 in all), despised by all and compared to a \u201cmonastery sponge,\u201d both the sal\u00ea<\/em> and Macab\u00e9a are rejects defined by a way of being in the world marked by gratuity that points to a profound inner freedom.<\/p>\n\n\n\n

Whether in the monastery experience or in the \u201cunconquerable city,\u201d idiocy figures, as Certeau observed, as \u201cthe leading astray provoked by the antiheroes\u201d (Certeau, 1992, p. 47).  Women and men who perform with their actions and bodies a work of seduction and displacement that makes these bodies endless exercises of their \u201cappearance and disappearance\u201d (Certeau, 1992, p. 46). Macab\u00e9a lives like a \u201cstray dog\u201d who wanders aimlessly, and her life is always already.  Living as an ordeal in which suffering and martyrdom are confused with a destiny that is not given but cut into playing cards.<\/p>\n\n\n\n

Finally, Macabea, living incompetently, believing idiotically, had an advantage over the poor: she had the privilege of not begging. When she was hungry, she would \u201cchew paper into a pulp and swallow.\u201d  Completely surrendered to becoming, she had no time to complain.  Totally regretful of everything, she did not need God, although she prayed, but as one who prayed for nothing. Living matter, primary, organic form, she simply existed. Lost in the crowd, amidst unexpected ecstasy, she recognized herself as impossible. An ephemeris that is confused with dissimulation. Once again, like the sal\u00ea<\/em>, Macab\u00e9a establishes an unknown: \u201care you just pretending to be an idiot or are you actually an idiot?\u201d The answer comes from the narrator: \u201cShe wasn\u2019t an idiot but she had the pure happiness of idiots.\u201d Empty, void, nothing, she experiences four ecstasies that reveal, without her knowing or through not knowing, the \u201cvoid that fills the souls of the saints.\u201d In a typed rhythm of one who meditates without realizing it, Macab\u00e9a\u2019s life follows the impacts\/events that fix impressions, memories, experiences marked by the ink of an irreducible becoming on the ribbon of a machine\/world: \u201call I know how to do is be impossible.\u201d Holy innocence! A freedom that is very close to what, in the words of Marguerite Porete, when describing the state of annihilation of the soul, is only comparable to the life of a child (PORETE, 2005, p. 81).<\/p>\n\n\n\n

If through Marguerite\u2019s mirror (speculum<\/em>) we have an image that reflects the play between literature and mystagogy, which is understood as an initiation into mysteries that leads to the abyss of a spiritual life marked by a silent \u201cbottomlessness\u201d in which all opposites converge, the mirror, in The Hour of the Star<\/em>, assumes, in its ordinarity, the role of reflecting the life of a Northeastern girl who, due to shame, has never seen herself naked, but who is totally explicit.<\/p>\n\n\n\n

A significant image, in the narrative, that separates the description of Macab\u00e9a\u2019s former life, made by Rodrigo S.M., from the reflection of a physical existence marked by disfiguration that establishes a play between what is displayed (visible) and what is not figurable (invisible).  The delicate thing that demands, from the narrator, abstention, solitude, and simplicity as conditions for a description of a self-impregnated body\/soul. A growth without fertilization (parthenogenesis) that, just like how it is born, dies embracing its body in a fetal position. It is in her own heart that Macab\u00e9a finds the breath of life and that even in the face of death she insists: \u201cI am, I am, I am.\u201d<\/p>\n\n\n\n

\n
* Photography: Marcel Gautherot. Reisado (Festa Popular)<\/em>, circa 1943. Marcel Gautherot Collection\/ Instituto Moreira Salles<\/h5>\n\n\n\n
** Translated from the Portuguese by Marco Alexandre de Oliveira.<\/h5>\n\n\n\n
*** Cicero Cunha Bezerra is a full Professor of the Departament of Philosophy at the Federal University of Sergipe. CNPq researcher.<\/h5>\n<\/div><\/div>\n\n\n\n
\n
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References<\/strong><\/h2>\n\n\n\n
\n

CIXOUS, H. Extrema fidelidade. In: LISPECTOR, C. A hora da estrela,<\/em> Rio de Janeiro: Rocco, 2017, p. 131-163.<\/p>\n\n\n\n

CERTEAU, M. A f\u00e1bula m\u00edstica, s\u00e9culos XVI e XVII<\/em>. Trad. Abner Chiquieri, Rio de Janeiro: Forence, 2015.<\/p>\n\n\n\n

PALLADIO, La storia lausiaca<\/em>. Introduzione di Christine Mohrmann, testo critico e commento a cura di G.J.M. Bartelink. Traduzione di Marino Barchiesi, Firenze: Fondazione Lorenzo Valla, 1974.<\/p>\n\n\n\n

PORETE, M. El espejo de las almas simples<\/em>. Edici\u00f3n y traducci\u00f3n de Blanca Gar\u00ed, Barcelona: Siruela, 2005.<\/p>\n\n\n\n

ROSENBAUM, Y. (2019). A escrita (do) imposs\u00edvel em A hora da Estrela.<\/em> FronteiraZ. Revista Do Programa De Estudos P\u00f3s-Graduados Em Literatura E Cr\u00edtica Liter\u00e1ria, (23), 24\u201341.<\/p>\n\n\n\n

WISNIK, JM. Ilumina\u00e7\u00f5es profanas (poetas, profetas e drogados)<\/em>. In: https:\/\/artepensamento.ims.com.br\/item\/iluminacoes-profanaspoetas-profetas-e-drogados\/<\/p>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Michel de Certeau, in his La fable mystique, addresses an important aspect in the relation between idiocy and holiness in the first centuries, particularly in Christian literature, namely: a mode of isolation in the crowd. Idiocy, in the form of madness, is attributed to the crowd, and additionally, is established as a provocation, a transgression […]<\/p>\n","protected":false},"author":26,"featured_media":12697,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[564,1],"tags":[],"class_list":["post-12699","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","category-uncategorized"],"yoast_head":"\nIdiocy and Holiness - Clarice Lispector<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/site.claricelispector.ims.com.br\/2022\/01\/12\/idiocy-and-holiness\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Idiocy and Holiness - Clarice Lispector\" \/>\n<meta property=\"og:description\" content=\"Michel de Certeau, in his La fable mystique, addresses an important aspect in the relation between idiocy and holiness in the first centuries, particularly in Christian literature, namely: a mode of isolation in the crowd. 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