Creon divides his interlocutors into two clans, those who are with him and those who are against him. He no longer negotiates and threatens those who oppose. Force controls it, when force must never serve except to protect, and it is always so with those who give themselves up body and soul to the will to power. To handle force as power is to believe that fear is the engine of power and establishes authority when it is more like the caress of a parent on the cheek of the child after an act of stupidity. If power reigns in practice, it must always be a morning of authority where it will believe to be sufficient unto itself. Creon no longer knows where he is talking about or at least he is talking about an imaginary place where he has just arrived and which did not exist before his arrival and which was created by him for him. As if being king, Creon was no longer made up of the same elements of flesh, bone and genetics as the day before his coronation. Creon embraces and gives himself the identity of a king who forgets where he comes from and what he owes to his past which is erased by his coming to power. If identity proves to be a search and partly a construction built by one's tastes and choices, a whole foundation of identity exists, even pre-exists, in us before us. Too many identities are written these days, crystallizing on this background or only on research, when balance presides over identity.
Category: Work in progress
The enantiodromos, the fork of life
Creon transforms into a tyrant. He becomes what he imagines he should be. It is the enantiodromos , this moment and this place among the Greeks, which tells the true nature of a man when, at the crossroads, he must confront the choice of the road to follow. The enantiodromos is the fork where the one who becomes is born… Like an upstart taking possession of the thunderbolt of Zeus, Creon lacks the education and understanding of his power that can only be given to him by the 'authority. Creon thinks in terms of right when he should first think in terms of duty. Being oneself is never a habit, identity is a search and an affirmation, a enantiodromos , like a state of siege, who am I? Where am I going ? You have to constantly question yourself and explore the mystery of life, but caparisoned with what you know about yourself and with the world's self-agreement, that is to say that there are some certainties, there cannot be nothing, otherwise there is no Antigone...
Take on yourself, a transfiguration
It is difficult to understand in our time where individualism reigns that the action of taking on the fault that one does not think of oneself, that one thinks of the other, but which necessarily is also of oneself, necessarily, because I have already committed this kind of fault by action or omission, this fault is not unknown to me, the action of endorsing the fault which, even if it is not of oneself, could have to be, therefore to endorse the possibility of the exposure of my weakness, a moment of intense and prodigious humility, transgresses my self and obliges it to come out of its comfort; this gesture provokes, without my even having to call for it or to seek it, the crossing of the membrane which separates me from another in me that I still do not know, another that surpasses my nature, can -to be another lending-natural, the transfiguration that allows me to become more than myself.
To be and to Have
What belongs to us matters less than what we are and we are wrong to believe, under the wing of envy, that what belongs to us can define who we are.
Antigone, rebellious and intimate (4/7. Freedom)
Antigone did not come to life at dusk. Antigone is born with dawn. It is at daybreak that Antigone becomes anti , which means facing and not against . At the reflux of the army of Argos, Antigone emerges from the shadows where she could have resided all her life, not to solve the riddle of the sphinx like her father, not to solve the riddle of the stages of the life, but to fill the space between each of them. Oedipus tore off his skin, his nails, his knuckles. Dusk describes an uncertain state in the morning as well as in the evening. Antigone rises with the day, with the dawn, when freedom takes life, and therefore body.
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Funerals
Funerals are used to point with diabolical precision a dart that comes to burst the abscess of pain to let it flow out gently and smooth like the infusion of a patient, it hydrates those who remain on the edge of the bank of the alive, it brings him the comfort of always being a little with the missing person, but at the same time, it reminds him of his absence… It is difficult not to revel in it and not to hate it at the same time. The loss changes the whole layout of the living because he sees the imprint of the dead everywhere, some rooms are adorned with flowers when they have never been... The dead imposes a prism on the living who sees him in places where the latter has never set foot. The mental image makes it possible to remember and to imagine and frantically intertwines the threads of one with the threads of the other in a mad saraband that intoxicates and hoarse until we are no longer able to differentiate what which is true of what we invent. Time does nothing, or rather knits this confusion. But do we still want to separate memory from imagination?
We don't mourn someone, it's mourning that shapes us, it's the loss of a loved one that shapes us.
The Meaning… of Funerals
The contemporary world is thrilled by using the formula, make sense , a perfect translation of the Anglo-Saxon expression, make sense . It is comforting to repeat this expression to yourself without it actually having any… meaning, so we pick up little things that make sense, but what are these mini-meanings found on the ground almost by chance? What are these skin of sorrow meanings that Through the methodical destruction of the family, transmission between generations is lacking, the meaning of our actions is lost, so we have to invent meaning , we have to create meaning, we have to give ourselves the illusion of still living, of not having abdicated. Deceit is backed up by ignorance, and on this point too, trickery is not new. The meaning given by death within the family, this meaning almost completely forgotten nowadays, is recalled by Antigone in Sophocles' play where she stands as a guardian of the values that liberate, because they protect man from death. 'animal. Antigone reaffirms what man can and cannot; it takes hold of a force destined to protect us from our will to power and to teach us the time of responsibility; a time nowadays entrusted to specialists replacing the family, the people who compose it, and the tenuous links woven between them over time.
The penalty
The pain resembles the backwash that comes and goes with languor, without languishing, on the hieratic rock that fulfills its role of whipping boy. She overwhelms it almost every time and, if she misses her shot, if she does not completely subdue the rock in the moment, she never resigns herself, she always regains her momentum and, as a kind of feint , bypasses it, surrounds it, embraces it and hugs it the next time!
Freedom darling!
Antigone is free and, as freedom is constantly won, it would be fair to say that Antigone is freed, because we never stop freeing ourselves, and learning to free ourselves. Freedom is the most repressed gift, because freedom represents the truth, it is the best interpreter of life. It tames destiny and calls to become more than oneself.
The permanent conversion
Contrary to what is often said or believed, tradition obliges a permanent conversion. Tradition is no picnic, a lifetime spent at the spa! Tradition requires constant effort. And even the most important effort: not to forget. There is only a living tradition, and to live is to take the risk of living.