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Title
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Homo Faber / Polska Sztuka Ludowa - Konteksty 2014 Special Issue
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Description
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Polska Sztuka Ludowa - Konteksty 2014 Special Issue s.402-413
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Creator
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Czaja, Dariusz
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Date
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2014
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Format
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application/pdf
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Identifier
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oai:cyfrowaetnografia.pl:6146
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Language
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ang
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Publisher
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Instytut Sztuki PAN
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Relation
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oai:cyfrowaetnografia.pl:publication:6575
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Rights
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Licencja PIA
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Subject
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anthropology of film
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Type
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czas.
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Text
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DARIUSZ CZAJA
Homo Faber.
Accident or Necessity
Chance - l. cadentia, that which falls out
1. apparent absence of cause or design; destiny;
2. fortune: often personified
3. a happening; fortuitous event; accident; “That
power which erring men call chance” - Milton
Webster's New Twentieth Century
Dictionary of the English Language
They’d be amazed to hear
that Chance has been toying with them
now for years.
Not quite ready yet
to become their Destiny (...)
Wisława Szymborska,
Miłość od pierwszego wejrzenia,
in: Koniec i początek
From the present-day viewpoint, Greek art - the
problems that it tackles and the questions that it poses
- can be comprehended, generally speaking, in two di
ametrically different ways. Its examples can be under
stood either as permanently connected with a certain
stage in history and thus perceived as symptoms of the
immaturity and “infancy” of European culture, or en
compassed in an understanding glance and viewed as
an expression of own questions and doubts.
In a discussion with the doctrine of historicism,
which assumes a stage structure of the historical proc
ess and constant progress in the domain of thought
and art, Daniel Bell formulated the following remark:
The historicist answer is a conceit. Antigone is no child,
and her keening over the body of her dead brother is not an
emotion of the childhood of the race. Nor is the contempo
rary tale of Nadezhda Mandelstam, searching for the body
of her dead husband (the Russian poet Osip Mandelstam,
who disappeared in Stalin’s concentration camps) in or
der to bury him properly, a case of precocity “on a higher
plane’”.1
Take a closer look at the significance of this state
ment made by the American sociologist. Antigone and
Nadezhda Mandelstam. What is the meaning of this
402
comparison, what is it about? True: we understand
something only in a comparison. The one performed
by Bell is, however, of a special sort and is certainly
not a rhetorical ornament encrusting a discursive ar
gument for the sake of greater effectiveness. The ex
ceptionality of this comparison does not result from
the fact that a poignantly real and historically docu
mented experience has been compared to an event
and a person whose source was first an archaic myth
and subsequently the imagination of an ancient trage
dian, while the sole real quality is the literary record
or the duration of the theatrical spectacle. It also does
not originate from the fact that it brutally confirms the
known paradox formulated by Wilde about life imitat
ing art. The issue at stake is much more fundamental,
namely, that something of this sort could have taken
place and was feasible.
Sophocles staged Antigone in about 441 B.C., Osip
Mandelstam perished in a Soviet camp 2 400 years lat
er. The timespan separating those two events can be
also translated into another, non-chronological meas
ure. In that case, it will involve the enormous mental
and cultural distance separating the two epochs be
tween which Bell’s comparison built a bridge. A t this
stage it is unimportant w h y he acted in that manner
but how was it p o s s i b l e. After all, the heart of
the matter does not lie in the fact that the compared
events are similar (albeit not exactly). Much more es
sential appears to be the very motion of imagination
linking that, which ostensibly cannot be connected.
In order for this bond to possess a more profound
meaning and to be something more than a mere for
mal trick based on external similarity there must exist
a conviction about the essential identity of the compa
rable elements. In other words, there must exist a con
viction that the experience contained in Sophocles’
tragedy is not solely the reflection of the historical mo
ment when the play was written, and that the sense of
the experience does not end in recognising it as a liter
ary monument, but that it is transcended by the ever
living, existential topicality contained therein.
Myth, religion, and art are by their very essence
impervious to all rationalistic attempts and their logic
poses a challenge to categories of Aristotelian or dia
lectical logic. It is exactly due to them that man delves
into the foundations of human condition, invariable in
each epoch and culture. This is why we find Sophocles
moving even though the social and economic struc
tures from his epoch have vanished two thousand years
ago, a fact that amazed even Marx who was, after all,
ready to reject any sort of supra-historical values.2 This
thought expressed by Ernesto Sabato makes it possible
to better understand the comments proposed by Bell.
A condition for the comparison carried out by the
American expert on culture involves, therefore, such
a comprehension of history, which without annulling
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
variability and negating differences between succes
sive moments in history sees it predominantly as an
area of questions and existential situations. These are
existential questions which confront all human beings in
the consciousness of history: how one meets death, the
nature of loyalty and obligation, the character of tragedy,
the meaning of courage, and the redemptiveness of love
or communion. The answers will differ, but the questions
are always the same.3 In a thus comprehended history
of culture, in history conceived as the space of shared
questions, Antigone and Nadezhda Mandelstam share
the same plight and hold hands as if above all centu
ries.
In the cited fragment of Bell’s book Greek archaics
maintains an astonishingly close contact with contem
porary experience. Contemporaneity seeks its reflec
tion in the symbolic message of the Greek myth and
tragedy, and becomes illuminated by it. Apparently,
in the perspective revealed by the above-mentioned
comparison contemporaneity is not, so to speak, iden
tical. It can contain the not always recognisable stra
tum of trans-historical meanings. This holds true to an
equal degree both for events and biographies that are
part of “living” history as well as for events and biogra
phies recorded in art and other cultural "texts”.
The cinema frequently embarked on the Greek
“theme” and plots of Greek tragedies were filmed with
various success.4 Probably more interesting than such
productions are those films whose reference to Greek
symbolic and mythology is never direct but resorts to
allusion or is unintentional. In a foreword to a Polish
edition of his Semiotics of Cinema Yuri Lotman, writing
about neo-mythologisation in the cinema and, more
extensively, in twentieth-century art, quite unexpect
edly commented on the meaning of a film with which
the Polish public is familiar to such a degree that it
“knows it by heart” and rather does not expect that
something more and of interest could be discovered.
Polish readers of the book are probably well acquainted
with Roman Polanski’s Knife in Water (1962), a film
of breakthrough importance for the Polish post-war cin
ema. I am certain, however, that not all are familiar with
Pausanias, the neo-Platonist Porphyry and other sources.
Meanwhile, there are profound links between Polanski’s
film and the rite in question, which in Athens was known
as the slaying of the bull and which is the source of the
well-known words: buffoon and buffoonery. The myth de
scribes the terrible crime of sacrilege committed by some
one who killed the sacrificial bull of Zeus: the bull was
struck with an axe and finally finished off with a dagger.
When the country started to suffer from famine the Pythia
announced that Zeus would forgive the crime if the perpe
trator was punished and the bull - eaten. The recreation
of the court trial accompanied by a ritual consumption of
the bull comprised an annual Athenian ritual. The slayer
declared that he would have never committed the crime if
403
someone had not handed him an axe; that person in turn
pointed to someone who had sharpened the axe and who
put the blame on girls-hydrophores who supplied water for
the sharpening, while they accused the man who slaugh
tered the bull with the knife and denounced the latter.
Since the knife could not say anything in its defence it was
pronounced guilty and drowned.
The contemporary artist interpreted the buffoonery of
drowning the knife as a question of responsibility. A crime
had been committed but no one is guilty —hence the perpe
trator proves to be the “knife in water”.5
Further on, Lotman drew attention to the fact that
the film message is encoded upon numerous occasions
and that depending on the “applied” code the process
of deciphering the film will also change. It is essential
for the relation between various interpretations not to
be that of exclusion. Today, Knife in Water can be in
terpreted as a manners and morals “text”, a portrait of
a fragment of Polish reality of the 1960s; at the same
time, we may disclose its “non-contemporary”, suprahistorical sense by using the yardstick of the Greek
myth and ritual. In the second instance, contempora
neity, ostensibly so familiar and native, starts to emit
astonishing meanings. Just as was the case in the cited
comparison proposed by Bell so here too film situa
tions and events at essential moments go back to their
Greek ”models” without losing their contemporary
character. Furthermore, importance is attached not
only to that, which the film repeats from the Greek
myth and rite but also to the way in which it modifies
and develops them.6
The findings of the American sociologist and the
comments of the Russian semiotician are an excel
lent introduction to the proposed interpretation of
Volker Schlondorf s film Homo Faber (Voyager) and
its fundamental orientation points. We shall accentu
ate - as Bell did - the importance of the existential
identity of questions appearing in the film with his
torical “texts”, and to indicate - as Lotman did - the
way in which a "multi-code” interpretation of a film
may contribute to discovering within it unexpected
strata of meanings.
Schlondorff s film is a screen version of Homo Fab
er, the novel by Max Frisch (1957). The scenario was
written thanks to the cooperation of both authors. A t
the time, Frisch was already gravely ill and Schlondorff was one of the few persons who visited him be
fore death. The writer still managed to see the film
at the first special screening in Zurich, to which he
invited all his friends. Schlondorff recalled that the di
rector was pleased but after the film ended he left the
still dark interior without talking to anyone or bidding
farewell.7 I recollect the circumstances accompanying
the origin of the film because they constitute an im
portant context, not solely historical but primarily ex
istential. In particularly vital statements Schlondorff
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
reconstructed his conversations with Frisch. We shall
return to them upon several occasions.
Frisch told me: “The reason for this book was my trip
to South America in 1954. I saw and experienced a lot and
wanted to tell about it. Then, suddenly, while writing, there ap
peared that auburn ponytail on the ship’s deck. I thought that
some sort of a romance would be a good idea. Several pages
later, I noticed that it would end with incest. I must discontinue
this motif, I thought, these two books cannot be matched. I
shall be incapable of merging jungle and incest, about which
no nothing". Naturally, he wrote on and combined the two. I
also remember that he said: "When I started writing I thought:
let’s hope that this book will have a happy end. I don’t want to
offer the world yet another tragedy". And yet due to its tragic
ending the book resembles a dirge of sorts.8
It is difficult resist the impression that the sce
nario written together with Schlondorff was Frisch’s
“funeral dirge”, a farewell to the world, and a testa
ment of sorts. Another essential moment came when
Schlondorff decided (for the second time) to try to
obtain permission for filming the book. A t the end of
the 1970s, urged by one of the Paramount producers,
Schlondorff thought about transferring Frisch’s prose
onto the screen. The whole venture failed due to a
motif present in the book, which Frisch too regarded
as an obstacle. He regarded incest as taboo and ex
plained to representatives of Paramount that in no
case should it be shown on screen.9
Several years later the idea of basing a film on Fr
isch’s book returned quite unexpectedly or, to refer to
a motif emerging in Faber’s story, purely by chance.
Several years ago, when I moved to New York, I had
doubts about everything, especially my career, and toyed
with the idea that after thirty years of working in the film
industry it was high time to learn something serious, to
study architecture or medicine. For many reasons things
were not turning out right. Suddenly, I recalled the title
Homo Faber. (...) I had not read the book from the time
offer made by Paramount, but (...) suddenly Homo Faber
appeared to be of utmost urgency: this film was the solution
to my crisis. I am well aware of the fact that this is a case of
abusing literature for the purpose of self-therapy.
Asked whether the publication of Homo Faber
was an illumination of sorts Schlondorff confirmed:
Yes. It took place while I was walking down a New York
Street. I returned to my apartment, wrote a letter to Max
Frisch, and politely enquired whether the copyright is al
ready available. He answered: "For long no one wanted
this bride, now there are two suitors and I’m afraid that
she is already spoken for". Half a year later he informed
me that the copyright would be available already at the end
of 1987 if I were still interested. Soon, I met him for the
first time in Zurich. From the very start our contacts were
cordial. We sat at a table and I asked him the same ques
tion, which you ask me: how did the book come about?10
We know the answer.
404
Schlondorff s film follows all the most important
points of the Frisch novel. There are, however, two
noteworthy differences, the first involving the con
struction of the dramatis personae. Faber, the lead pro
tagonist in the book, writes down his account while
critically ill and waiting for surgery that, everything
seems to indicate, will fail. Frisch proposed that the
director should resign from a “somatisation” of this
character: This man should not be sick. A person with
such experiences should be well. The second difference is
connected with the plot. The film lacks a whole chap
ter - The Second Stage, describing Faber’s story from
his departure from Athens to the death of his daugh
ter, the return to an Athenian hospital and the period
of anticipating surgery.
What is Schlondorff s Homo Faber about? This is
a film about love, or rather loves: Faber’s first mourn
ful love for Hannah, unsuccessful and ending with the
lovers parting. Then there is the second love, Sabeth’s
feeling for him, fatal love with the entire horror inher
ent in that adjective from whose vernacular version
the connection with the Latin fatum has vanished.
The third love - that of a mother for her daughter,
remains in the background. What else? It is about a
meeting, or rather meetings. About strange, inexplica
ble meetings evading all logic, which suddenly, from a
certain moment, start to create a pattern of a cohesive
chain of dependencies. What else? About roaming,
or rather wandering that assumes the form of prosaic
tours and meandering together, with all metaphoricalsymbolic references.
Voyager is thus first and foremost an intriguing tale
in which we recognise themes and motifs present in
European culture “since time immemorial”. Schlondorff distinctly accentuated the fact that the cinema
continues the ancient tradition of supplying tales, al
though by using new measures: The force of the Ameri
can cinema lies in the fact that it tells about people and
events. If one were to take a close look at the career of, for
instance, Billy Wilder, whom I know well, then one will
always notice the stress on the interesting tale and the way
in which it is recounted. The cinema is thus a continua
tion of the traditions of the itinerant storytellers of yore. I
mentioned the significance of the plot and the story, but the
stories are told over and over again.11
“The same old stories ...”. What sort of story, “ever
the same”, is told by Homo Faber? To put it as suc
cinctly as possible: this film is a recreation of the story
of Oedipus, although not literal or primitive. It repeats
the story of Oedipus but with certain attempts at re
touching it, inserting omissions, and transposing the
ancient plot. Most importantly: by placing Oedipus in
contemporary sets the film introduces the fears and
problems of its period while preserving the essence of
the original tale. It has retained those elements that
allow us to recognise in Faber the protagonist of So
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
phocles’ tragedy. This suggestion will be the prime
object of interpretation and analytical “p roo f, by no
means a facile task since, as certain authors stress, the
world of the ancient Greeks, Greek tragedy, and its
protagonists comprise a reality that we regard as al
most totally alien.
In a characteristic of the features of the prime types
of Greek heroes (Homeric, tragic, erotic, contempla
tive), Wystan Hugh Auden discussed the tragic hero
by recalling Oedipus and in a rather symptomatic
fashion commented on the possibie existence of a pro
tagonist personified by him in modern dramaturgy: We
are so habituated to the belief that a man’s actions are
a mixed product of his own free choices for which he is
responsible and circumstances for which he is not that we
cannot understand a world in which a situation by itself
makes a man guilty. Take the story of Oedipus, for in
stance. Here a man who hears a prophecy that he is to
kill a father and marry his mother, tries to prevent it com
ing true, but in vain. How would a modern playwright
treat this? He would reason that the only way for Oedipus
to make certain of escaping what is foretold is for him to
never kill anybody and never to marry anybody. He would
therefore begin by showing Oedipus leaving Thebes and
making these two resolutions. He would then proceed to
involve him in two situations, firstly, one in which he is
done a mortal injury by a man, secondly one in which he
falls passionately in love with a woman who returns his
love, situations, that is, of temptation, in which he is torn
between doing what he wants and breaking his resolve.
He yields to both temptations, he kills the man and
marries the woman, excusing himself as he does so with
a lie of self-deception, that is, instead of saying to him
self, “There is a possibility, however slight that they are my
father and mother; therefore I must not risk it” he says,
“It is quite impossible that they should be my father and
mother, therefore I may break my resolve”. Unfortunately,
of course, the slight possibility turns out to be the actual
fact.
In Sophocles nothing like this happens. Oedipus meets
an old man on the road, they have a trivial quarrel, and he
kills the old man. He comes to Thebes, solves the riddle of
the Sphinx, and makes a political match. About these two
deeds he feels no guilt nor is he expected to feel guilty. It
is only when in fact they turn out to be his father and his
mother that he becomes guilty. At no time has been con
scious of being tempted to do what he knows he should not
do, so that at no time is it possible to say, “That was where
he made his fatal mistake”.12
Keeping in mind the doubts expressed by Auden
let us recall at the onset the main points of the film
story of Walter Faber.
Found (by chance) by a stewardess at the Caracaras airport Faber boards a plane whose start was
delayed because of him. On board, he (by chance)
makes the acquaintance of Herbert Hencke. As a re
405
sult of a (chance) breakdown the plane is forced to
land in a Mexican desert where Faber (by chance)
finds out that his co-passenger is the brother of his old
best friend, Joachim, who married Hannah, Faber’s
former fiancée. He goes back to New York and from
here travels to Paris. His ship is to sail in a week, but
Faber (by chance) buys a ticket for a ship departing
a few days earlier; on board, he meets (by chance) a
young woman and proposes to her, but they both can
recognise a joke. In Paris Faber suddenly and with
out a definite reason (by chance) goes to the Louvre
where he once again meets Sabeth. Next, as a result of
his unplanned decision (made by chance) they travel
in a rented car to the south of Europe. In one of the
hotels on the way they spend the night together. In
a (chance) conversation with Sabeth, Faber finds out
that her mother’s name was Landsberg, the same as
that of a woman who was once pregnant with him
and who was supposed to become his wife. Due to a
(chance) fall along the rocky coastline Sabeth dies a
few days later. Quite a lot of coincidences. But is
this enough to treat the story, here summed up in a
rather textbook fashion, as a contemporary variant
of the Greek myth and its transposition into the So
phocles tragedy? True, it contains a long list of acci
dents playing the same important role as in the story of
Oedipus. But the film does not have an oracle, whose
words incessantly affect the protagonist, there is no
Sphinx, Faber does not marry his mother nor does he
kill his father, etc. - in other words, there are no mo
tifs of essential meaning for the classical tragedy. Does
the motif of an incestuous relationship involving a fa
ther and a daughter entitle us to recognise Faber as
an embodiment of Oedipus? Even if we were to treat
incest as an important, not only structurally, element
of the Greek tale it is still an insufficient argument to
suggest upon its basis that the two characters are suit
able for the parts.
Nevertheless, it seems that contentions in favour
of such an interpretation are strong. Before we present
them we have to resolve a question of basic impor
tance for our claims: who is Oedipus and what in
his myth and the tragedy is "really” important? The
answer to this ostensibly simple question is not that
easy since contemporary exegetes have exceptionally
acknowledged the tragic protagonist. The celebrated
conflict of interpretations has, in the case of Oedipus,
found an excellent illustration and confirmation. Let
us recall in an abbreviated form several “canonical in
terpretations” connected with his name.13
Freud extracted a single element from the entire
story and turned Oedipus’ relation with his mother
into the Oedipus complex. By doing so, he deprived
Oedipus of tragic traits and enclosed his symbolic di
mension and multiplicity of meanings within an un
complicated biological aspect of unconscious desires.
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
Oedipus was forcefully taken from the classical stage
to a clinic and laid down on a psychoanalyst’s couch.
Such an interpretative cure did him little good. Let us
keep in mind that it was not Greek tragedy that was
built upon the basis of the Oedipus complex, but it
was that latter that was created upon the foundation
of Greek tragedy.14
For Lévi-Strauss, in turn, the Oedipus myth (just
as any other myth) is predominantly a game of dif
ferences within its structure, a logical tool of sorts,
revealing irreconcilable contradictions. According to
this interpretation Oedipus together with his story
and drama becomes transformed into a myth. The
protagonist is reduced to playing the part of a "con
stitutive individual”. Nonetheless, symbolic meanings
proposed by the Oedipus myth cannot be enclosed into
such a purely logical perspective. The symbol precedes
and transcends the logos. Just as important is the fact
that a reconstruction of the myth is not tantamount
to an extraction of its meaning, which Lévi-Strauss
described as a cognitive function: What is here called
a meaning-function is not at all what the myth means, its
philosophical or existential content or intuition, but the ar
rangement, the disposition of themes, in short, the structure
of the myth 15. So m u c h: the structure of a myth, and
so l i t t l e: the structure of a myth.
Vladimir Propp represented a slightly similar ap
proach in an extremely interesting text on the con
nections between the Oedipus motif and folklore. This
is a clear example of the historical orientation of the
“late” Propp, seeking in the plots of tales, legends, and
epic works a reflection of concrete life situations and
historical matter. But he too, just like Lévi-Strauss, re
garded “Oedipus” to be a formal unit, one of the "mo
tifs” of folklore plots, a structural counter.16
Yet another treatment of Oedipus is epitomized by
René Girard. It must be said at the very onset that
Lévi-Strauss and Propp were interested predominantly
in the formal-logical aspect of the Greek tale, while
Girard tried to answer the fundamental question: what
are the Oedipus myth and legend about? In evoca
tive prose, mixing persuasion with open conceit and
gnostic certitude, he argued that only the scapegoat
mechanism is capable of explaining the basic meaning
of the story of Oedipus. This mechanism is just as ef
fective when we inquire into origin and structure.17
A community in the throes of a conflict or violence
or burdened with misery turns, in Girard’s opinion, to
wards a selected innocent victim who becomes the focus
of all amassed negative emotions. Collective violence
that causes the suffering or death of that victim restores
desired order and recreates the community. The “cause”
and “reason” of the misfortune are thus expedited to the
outside, beyond the limits of the community.
We have found ourselves within the range of the
basic categories of the Girard anthropology: the sac
406
rificial crisis, group murder, mimetic desire, and the
scapegoat mechanism. This undoubtedly original
conception, announced by Girard in: La Violence et
le Sacré and then developed in several of his other
books, unfortunately features a jarring one-sided ap
proach. Almost everything that Girard deals with is
elucidated by reference to the same interpretation
scheme. By way of example, Oedipus is inserted into
an “all-explanatory” hypothesis and, apparently, is
supposed to confirm solely the veracity of the previ
ously accepted premises. Girard’s extravagant reading
of familiar texts is annoying, and the same can be said
about the apodictic manner in which he formulated
his conclusions and the totalism of his conception, ap
parently excluding the possibility of all polemics. Eth
nologists are shocked by my blasphemies, Girard declared
bombastically, extremely pleased with himself.18 Not
only shocked: sometimes their approach is extremely
critical.
The four above listed interpretations of the story
of Oedipus were supposed to constitute a ”negative”
backdrop for further proposed reflections. We found
them unacceptable for several reasons. The first sug
gests a “bipolarisation” of the classical protagonist.
The next two perform his “formalisation”, and the last
reduces his complexity, forcing him to match an a apriori accepted scheme. This is why I suggest relegating
them to the margin and turning towards philosophical
and hermeneutic interpretations of the story of Oedi
pus. It is here that we shall seek intuitions casting light
on the adventures of Walter Faber.
The feature that characterises Faber probably the
best is his profession. He is an engineer, a designer,
and a constructor of dams. His is a concrete mind,
trusting exclusively the senses without succumbing to
the illusions of the ”divine arts of the imagination”.
When Hencke compared the landscape around the
crushed car to a land of dinosaurs he heard a cold re
ply claiming that this was a case of erosion and warn
ing against being carried away by imagination. Faber
is also amazed by the metaphorical expressions in the
statements made by Sabeth. He does not suspect even
for a moment that he too, despite his concreteness, is
a metaphor. This is a man who places his whole trust
in technology and its accomplishments. During one of
the discussions conducted on the ship, upset by the
remarks made by other passengers about art, origin
and eternity, he joins in to add ironically that it is not
art and religion that keep the ship afloat but Ameri
can technology. Faber is a mathematical being and his
consciousness is governed by the logic of probability.
The film outlines much more moderately than the
novel a likeness of Faber as a technical mind subjected
solely to mathematical calculations and the laws of sta
tistics. Frisch’s Faber is on the borderline of exaggera
tion. One of the engineer’s characteristic arguments
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
admits that he does not believe in the verdict of fate
or in destiny since as a technician he is accustomed to
taking into consideration the formulae of probability.
Without the forced landing in Tamaulipas on 2 April
everything would have followed a different course: he
would have never met young Hencke, perhaps never
heard about Hannah, and up this day never realised
that he is her father. It is even quite possible that Sabeth would be still alive. Admittedly, this was more
than sheer coincidence - it was a whole chain of co
incidences. In order to recognise improbability as an
existing fact there is no need for mysticism, and math
ematics suffices.
To put it mathematically: probability and improbabiity do not differ as regards their essence but
frequency of occurrence, and the occurrence of a phe
nomenon that is more frequent is much more credible.
When, however, something improbable takes place
it is by no means a supernatural effect, a miracle or
something of the sort, as laymen are fond of claiming.
Whenever one speaks about probability, it always con
tains improbability as the extreme case of possibility,
and if that improbability does take place, then there
are simply no foundations for astonishment, outrage
or mystification.19
Quite possibly, this exaggeration on the part of Fr
isch is justified. After all, Faber is not only a surname
attached to a concrete person; the word also charac
terises a certain ideal type, a model figure: homo (this
time without a capital H) Faber. In the case of a model
we always deal with a certain overstatement, some
times close to a caricature. Walter Faber interfering in
Nature by resorting to ideas typical for an engineer is
its perfect model-like embodiment. Daniel Bell’s ear
lier cited work contains an explanation of the term:
homo faber: Man as homo faber sought to make things,
and in making things he dreamt of remaking nature. To
be dependent on nature was to bend to its caprices and
acknowledge its tyrannies and diminishing returns. To re
work nature, to make fabricated things, was to enhance
man’s powers. The industrial revolution was, at bottom,
an effort to substitute a technical order for the natural or
der, an engineering conception of function and rationality
for the haphazard ecological distributions of resources and
climates.20
In order to better understand the meaning of Fab
er’s passion and that of homo faber intent on emulat
ing Nature in its act of creation and on subjecting it
to “technical tooling” it is necessary to situate it in
a perspective different from the usually applied one.
It will no longer be a mere chapter in the history of
technical achievements but a fact from the history of
man understood as homo religious. This is not a mis
take. Homo faber, after all, continues, albeit not quite
in a straight line, the work of alchemy. The alchemist
cooperated in the perfection of matter, accelerated its
natural “work”. The very idea of alchemical transmu
tation embarks upon archaic beliefs about the possi
bility of altering Nature by work. Ancient metallur
gists and mediaeval alchemists envisaged Nature as an
emanation of the sacrum, but the contemporary homo
faber acts in a space devoid of signs of hierophany.
He also does not conceive “work” involving Nature
as tantamount to perfecting it. Despite this difference
he unconsciously realises the unfulfilled aspirations of
alchemy: the wish to render Nature perfect and to rule
over Time. Mirceae Eliade declared that it is neces
sary to seek in dogma characteristic for the nineteenth
century (claiming that man’s true mission is changing
and transforming Nature, that he can produce better
and quicker than Nature, and that he is predestined
to be its master) that one should seek the authentic
continuation of dreams cherished by alchemists. The
soteriological myth of protecting and, ultimately, sal
vaging Nature has survived camouflaged in the bom
bastic programme of industrial societies, which have
chosen the task of a total “transmutation” of Nature
and its transformation into “energy”.
From the viewpoint of the history of culture one
could say that in their desire to replace Time alchemists
anticipated the most significant elements of the ideol
ogy of the modern world. Chemistry gathered only the
crumbs of the alchemical heritage, whose largest part
remains elsewhere, in the literary ideologies of Balzac
and Victor Hugo, the naturalists, the systems of the
capitalistic, liberal or Marxist political economy, ma
terialistic or positivistic theologies of infinite progress,
and, finally, wherever faith in the unlimited potential
of “homo faber” flares up and the eschatological value
of labour, technology, and the scientific exploitation
of Nature is seen. Having deliberated over this, we dis
cover that this fervent enthusiasm is based on a single
certainty: by subjugating Nature with the assistance of
physico-chemical sciences man feels ready to compete
with it, but this time without losing Time. From now
on, work and science will perform the deed of Time.
With the help rendered by that which he regards as
most important within himself, modern man under
takes the function of temporary existence, in other
words, he replaces time.21
Follow this trace. The Latin word: faber means ar
tisan, carpenter, blacksmith. Affiliated words - fabre,
fabrica, fabricatio, fabricator, fabricor - sustain the idea
of creating, the creative activity contained in faber
(e.g. fabricor - to create, to give life). More: indicat
ing the artificiality of that, which has been produced
they contrast this type of creation and natural ”creation”, thus bringing them closer to the idea of creatio
ex nihilo. The very word faber already resounds with a
prediction of divine creation and power.
The film contains a scene whose meaning is wholly
emblematic - Faber showing his engineering projects
407
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
to representatives of Third World countries. The large
screen above him depicts a battle waged by the cha
otic element of water and man’s ability to tame the
elements. The last scene of this instructive film shows
an already erected dam and water captured within
the walls of the receptacle. Applause. Overwhelming
victory. Faber - the divine creator. Faber - the demi
urge.
Recall, while continuing for a while the etymologi
cal motif, that the meaning of the Greek demiurgos
is close to the Latin faber. Demiurgos is an artisan, a
potter, and according to the Gnostics - a creator of
the material world. In Greek mentality demiurgos was
closely connected with the idea of knowledge - ex
traordinary, mysterious, and forbidden.
In a fascinating text about the symbolic of the Oed
ipus myth (to which we shall return) Sergei Averint
sev, discussing the motifs of incest and its connections
with the symbolic of power and knowledge, recorded
a close affiliation in Greek tradition of the sages and
the Magi (and thus those who possessed secret knowl
edge) and craftsmen. Classical consciousness treated
the crafts as a magical art. The master was thus a
humble but fully-fledged comrade of the magus. Both
had penetrated extraordinary secrets inaccessible to
laymen, both are capable of subjugating demon forces
(the pseudo-Homeric potters’ song describes the fan
tastic demons battled by Greek potters; other crafts
men shared the same plight). Artemidor referred both
to the crafts and magic. An interesting parallel can
be even conducted for the modern European epoch,
which, after all, deprived the handicrafts of a magic
nimbus: suffice to recall the meaning of the word “ma
son” to understand just how strongly the custom of
linking crafts with occultistic initiation.22
The text by Averintsev makes it possible to notice
that the etymological sources of technology, a domain
closest to Faber, possess magical-sacral roots. Thus
Faber - let us gather the heretofore noted motifs - is
a person who discovered the mysteries governing N a
ture, who is “above”, who knows, and cultivates his
”magical knowledge” reserved for the few with the
dedication of a missionary in lands suffering from "ig
norance” ; finally, he has assumed a position reserved
for the gods. Note, at the same time, how strongly this
idea of knowledge is combined within the character
of Faber-faber with the idea of power comprehended
not in political categories but quasi-divine ones; this
power over time reveals itself in unhampered design
ing and forecasting the future.
Faber brings alive the image of Prometheus-the re
deemer together with the whole heroic-tragic charac
teristic contained in that classical symbol. Prometheus,
as we recall, was the master of numerous skills and arts
(i.a. blacksmithery!) but also, and this is recalled more
rarely, a divine potter, as follows from certain ancient
408
interpretations. Prometheus becomes a scultpor of
people. This means that man’s configuration of refer
ence is no longer divine order, which could be violated
and bring about his defeat. Man is now self-dependent
and certain of his knowledge and potential.23
Schlondorff s film, to put it explicitly, is not solely
and above all a critique of contemporary civilisation
and its rationalistic-technological appendages, the
spirit of calculation and Promethean optimism. Such
an interpretation would reduce the film at least to the
level of on-the-spot publicistics, albeit acute and de
void of illusions. This is not enough. The Faber char
acter contains many more meanings. The engineer’s
deifying technical intellect contains the discernible
feature of a tragic hero. This is classical hybris. In the
afore-mentioned characteristic of Oedipus, Auden
wrote outright: The original sin of the Greek tragic hero
is hybris, believing that one is godlike.24 Now the connec
tion between Faber and Oedipus has become some
what clearer. Let us, therefore, follow further this trail
of barely marked suitability.
The crime committed by Sophocles’ Oedipus in
volved two events: the murder of his father and the
incestuous relationship with his mother. Despite the
fact that these are two different deeds the crime re
mains essentially the same. From the point of view of
Oedipus the murder of his father is “only” an initial
step necessary for marrying his mother. Incest "really”
brands the perpetrator. Interestingly, classical authors
also shared this attitude: already the tragedy by So
phocles features suitable premises. In the famous IV
station the chorus speaks only of: fatal wedlock, thou
didst give me birth pursued by revenge (v. 1217), with
out any mention of patricide. In The Odyssey Homer
too differentiates the premise from the main event:
He married after having killed his father. In paradoxographic literature, a genre from the domain of popular
culture dealing with unusual events, there is simply no
allusion to patricide. Here, Oedipus is unambiguously
and, it could be said, necessarily linked with incest.
The crime committed by him was, therefore, marrying
his mother, additionally burdened with murdering his
father.25
While analysing the motif of incest within the con
text of classical culture Averintsev noticed not only a
biological phenomenon but also primarily a symbolic
dimension. In an extremely precise manner and by
resorting to oneirocritique he revealed the symbolic
relation between incest and winning and wielding
power. The incestuous dream (son and mother) in the
symbolic system of Graeco-Roman antiquity was an
important prophecy for the ruler and politician. De
pending on the manner of seizing power - legally or
by means of usurpation - it was, respectively, a for
tunate or ominous sign. The motif of incest was also
connected, as has been mentioned, with the symbolic
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
of knowledge. Schlondorff s film animates this sym
bolical tangle. There is no doubt that the incestuous
(totally unconscious) relationship between Faber and
his daughter cannot be treated literally and purely
biologically. Schlondorff: We agreed that incest could
be some sort of a metaphor26. Paradoxically, this uncer
tainty on the part of Frisch and Schlondorff (could be)
as regards the meaning of the incestuous relationship
presented in the film is an advantage from our point of
view. It demonstrates that in this case we are within a
symbolic space: unclear, non-discursive, allusive, with
a barely suggested significance. What sort of a meta
phor or symbol is cinematic incest? A t the onset, let us
once again resort to the subtle arguments expounded
by Averintsev.
In antiquity incest was symbolically associated
with knowledge, albeit of a special variety - unusual,
mysterious, prohibited. Incest was forbidden and ter
rifying, but divine mysteries too were reserved and
inspired horror. Such was the nature of the symbolic
tie between incest and knowledge.27 The recorded ex
perience also casts a light on the close connection be
tween incest and knowledge, indicating the affiliation
of the sphere of cognition and the domain of Eros. The
Biblical use of the verb “to know”, denoting penetra
tion of the mystery of the female body, is universally
recognised (“And Adam knew Eve his wife; and she
conceived, ...”). Such an application was adopted also
in the Greek. By way of example, in the writings of
Menander a girl confesses that her seducer “got to
know her”, while Plutarch consistently granted the
verb in question a purely erotic connotation. Similar
instances are encountered in the case of Heraclides
of Pont, Callimachus and many other authors. If the
Greek language discloses in erotic declarations that
“knowledge” signifies the “penetration” of a mystery,
then this aspect is without question also a priori em
bedded in Oedipian incest and means the penetration
of the most concealed life secret.28
We mentioned previously that Faber is the one who
knows, who possesses knowledge. He, who possesses
knowledge does not have to seek it. Nor does he ex
pect that some sort of knowledge could enlighten him.
What kind of knowledge, therefore, can be achieved
by a person who already knows? A true puzzle. Let us
return for a while to Oedipus.
Karl J aspers described Oedipus as a man who wants
to know29, in other words, one that does not know.
But Oedipus already has at his disposal considerable
knowledge. He is sovereign, discerning, solves the
puzzle, and defeats the Sphinx30. He has demonstrated
certain knowledge and learned something. He knows
many essential things, but still wishes to know.
There exists a distinct similarity between the
knowledge belonging to Faber and that possessed by
Oedipus. This is the type of knowledge based on exag
409
gerated trust in the power of the intellect, knowledge
that is connected with a conviction about the poten
tial of an exclusively rational study of the mysteries of
life. Importantly: this is knowledge-power. Such ho
monymy expresses the essence of the issue at stake.
There is a single difference - in the case of Oedipus
such knowledge is connected with power, rule, and
political authority, with becoming blinded by power.
In the case of Faber, however, this is knowledge of the
technical mind, completely convinced about the lim
itless potential of interfering with Nature, controlling
and governing it. Note that in both cases this knowl
edge refers to the outer world and carries the idea of
manipulating and subjugating reality. It is the sort of
knowledge that is suffused with a utilitarian-pragmatic
aspect.
Time to return to our puzzle. Now it is easier to
solve it. Despite the fact that he knows, Faber can still
find something out because his incestuous relationship
with his daughter possesses knowledge entirely differ
ent from the one that so far has been at his disposal.
Erotic “penetration” is tantamount to self-penetra
tion, the penetration of one’s interior and fate. This is
the sort of knowledge whose light brutally brings forth
the essence of knowledge already possessed. It reveals
the illusions and hybris of the other. It shows insignifi
cance or, at any rate, secondariness vis a vis the first.
The light of s e l f-k n o w l e d g e illuminates k n o w
l e d g e-p o w e r and not vice versa.
There where there is crime (even unintentional)
there must exist also punishment. A t the same time,
this concept of punishment does not have a penalis
ing nature, even more so considering that in the play
by Sophocles the protagonist metes out punishment
himself. Here, the logic of punishment is ruled by the
principle of symmetry or, one is inclined to say using
the famous description coined by Blake, fearful symme
try. Having learned the truth about himself Oedipus:
...The pin of gold, broad-beaten like a flame,
He tore from off her breast, and, left and right,
Down on the shuddering orbits of his sight
Dashed it: “Out! Out! Ye never more shall see
Me nor the anguish nor the sins of me.
Ye looked on lives whose like earth never bore,
Ye knew not those my spirit thirsted for:
Therefore be dark for ever.31
The eyes that rested on externalities, the illusions
of things, and were unable to perceive the truth of the
essential and concealed are gauged out. Symbolically,
Oedipus assumes the role of Tiresias and starts to no
tice that, which the blind seer has known for long. He
becomes a “blind seer”.32 Now, for the last time, here
is the incomparable commentary by Averintsev, who
wrote that both the tragic irony in the conversation
between the blind, but seeing Oedipus and the blind
seer Tiresias, as well as the closing lament of the cho-
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
rus about the governance of sight compel us to place
the act of self-blinding committed by the protagonist
within a context of an opposition between the essence
and the visual. Oedipus plucked out his eyes, which
betrayed him, while blinded by the invisible and be
guiled by the obvious. His knowledge turns against him
and his sight turns towards his innermost self. Appar
ently, wisdom-force and wisdom-power are crime and
blindness, the dimmest possible darkness of ignorance.
Now, immersed in the darkness of physical blindness
Oedipus seeks different wisdom - self-cognition; he
must see clearly that, which remains inaccessible to
his eyes.33
In Homo Faber the motif of the eyes plays an im
portant part almost from the very beginning. Excusing
himself Faber tells the stewardess that he was unable
to catch the plane on time because he suddenly felt
ill because of [his] eyesight. During the evening car
ride, somewhere in France, he complains about his
eyes, to which Sabeth replies that she will be his eyes.
The tragic irony of those words becomes apparent
much later. Finally, a scene, one of the earliest in the
plot (and maintained in sepia) and, at the same time,
chronologically the last (repeated in colour at the end
of the film), in which the motif of the eyes becomes
cleansed of all physiological-medical associations. Up
to that moment, eyes could still dominate the recep
tion of the film. Now, we see Faber in sunglasses, wait
ing, already after the death of Sabeth, in an airport
hall in Athens and confessing that he was incapable
of committing suicide. More, he was unable to look
because he could not see. In any case, there was noth
ing to look at since she was no longer.
The dark sunglasses accentuate Faber’s blindness
- one could add: symbolically, if that word could be
freed of the universal meaning that it assumes within
this context. Punishment-blindness is not meted out
literally. Nonetheless, Faber’s blindness is just as real:
he admitted that he could not look because he could
no longer see. The eyes that up to then looked and did
not see, now, just as in the story of Oedipus, are no
longer capable of seeing but begin to perceive, albeit
at an entirely different level. Sight is supplanted by its
inner counterpart, contemplating in humility the in
comprehensible verdicts of fate. This is Faber’s “jour
ney to the end of the night”.
Oedipus the King by Sophocles was known as a trag
edy of fate. In Homo Faber this motif appears at the
very onset and in different versions, while in the finale
it reveals itself with full force. In the afore-mentioned
"first-last” sequence we see Faber sitting in the Athens
airport hall. Off screen, he asks why did all the events
have to befall him? But this commentary is heard
once the veils of ignorance have already dropped, at
a moment ”when everything became obvious”, when
all is post factum, or rather: post mortem. Earlier in the
410
chronological order of events in the film, while sitting
in an airplane, Faber turns to a stewardess admitting
that he fears becoming embroiled in some sort of a
chain of developments.. And in a conversation with
Sabeth he asks her casually: Do you believe in chance?
In Faber’s mathematical mind there appears an un
clear premonition of future events. But it rapidly be
comes neutralised by including them into the logic of
probability, which leaves no room for doubt.
Faber is incapable of deciphering signs - forecasts
of looming misfortune (Joachim, who hanged himself
and whom he discovered together with Hencke, a bas
relief with a likeness of a slumbering nymph -Faber
remarks that she seems to be asleep, thus anticipat
ing Sabetha’s accident). He is incapable of extracting
meanings whose reference to him is the profoundest.
During the first meeting with Faber on a ship Sabeth
shows him a book, which she took on the journey.
It is Camus’ The Stranger with its refrain of a recur
ring question about the guilt of the main protagonist.
Faber, however, shows no interest. This small detail
makes it possible to accentuate once again the similar
ity between Faber and Oedipus. The latter is frequent
ly called a traveller, a foreigner, and a stranger. From
the moment when we get to know him, Faber too is
on the road. He does not have a home and constantly
moves from place to place, living in hotel rooms. He is
never at home. Contrary to Odysseus he has nowhere
to return to. Faber - the homeless, Faber - the eternal
wanderer. The original title of the film: Voyager, un
derlines and showcases this state of Faber’s permanent
suspension and roaming.
Faber, as we asserted, sees nothing. N ot only does
he not know what he is doing but he also does not
know what he is saying. During a discussion on reli
gion and art he presents an apotheosis of American
technology, declaring with deep conviction that he
is ignorant about the appearance of the souls of the
condemned. Optimism worthy of a protagonist from
Sophocles’ tragedy.
Faber also does not notice anything peculiar in
the sentences uttered by Sabeth during one of their
journeys across Greece, when she says that they have
so much to see and that it would be a crime not to
go to Delphi. Although this statement was made in a
rather innocent travelling-tourist context it is difficult
to resist the impression that the second sentence is not
only a serious information-sign addressed to Faber but
also defines the most profound albeit not named out
right motif (in the musical understating of the term)
recurring throughout the whole story and touching its
very core. It would be a crime not to go to Delphi - at
the very beginning of his wanderings Oedipus paid a
visit to the oracle at Delphi:
... So privily without their leave I went
To Delphi, and Apollo sent me back
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
Baulked of the knowledge that I came to seek.
But other grievous things he prophesied,
Woes, lamentations, mourning, portents dire.34
Faber had an opportunity to see Delphi at the end
of his journeys. He was in a hurry, however, because he
wanted to learn the truth as quickly as possible in the
belief that it he would discover it in Athens during his
meeting with Hannah. Meanwhile, the truth is within
his reach. What sort of truth is it? Plato’s Charmides
says outright: (...) when a worshipper enters, the first
word which he hears is “Be temperate!” This, however,
like a prophet he expresses in a sort of riddle, for “Know
thyself!” and “Be temperate!” are the same35. The oracle
says: know thyself - the famous: gnothi seauton. For
Faber "Delphi” is only a locality in his Baedeker tourist
guide; it could, however, become a cryptonym, an il
lusive directive of special knowledge. Just as Oedipus,
Faber is a bad hermeneutician.
There exists yet another, equally important, aspect.
Remember, after all, that in the Greek world destiny is
an actual force. Familiar with the contents of the Del
phic oracle Oedipus does everything so that it would
not come true. To the scene of tragic recognition he
knows nothing about the inappropriate nature of his
deeds. Like Faber, guided by some sort of mysterious
force (fate? destiny? how should we call it?) he does
things that he does not want to do. He aims straight
at misfortune, all the time unaware of the meaning of
his conduct.
Recall Auden’s description of the specific situation
in which Oedipus-the tragic hero found himself: At no
time has he been conscious of being tempted to do what he
knows he should not do, so that at no time is it possible to
say, “That was where he made his fatal mistake”. A t this
stage, we could, without misappropriating the char
acteristic proposed by Auden, describe Faber as the
embodiment of a classic tragic hero. After all, Faber is
not for a single moment conscious of being tempted to do
what he knows he should not do.
Schlondorff: Why should a man not fall in love woth
a 25 year-old woman or even marry her. I believe that in
the biography of Max Frisch this ocurred not once36. Im
portantly: Faber did not intend to flirt with Sabeth! In
the film this is obvious. There is, therefore, not a trace
of temptation. In the Frisch version Faber ponders on
his decisions while trying to capture the moment in
which he committed the fatal error.37 Are we not mix
ing conceits by referring specific meanings typical for
ancient Greek culture and connected with the idea
of destiny to contemporary literary and film reality; is
this not a process of projecting Greek notions onto our
mental reality?
Tadeusz Czapliński, an outstanding expert on
antiquity, responded partly to those doubts in his
insightful and passionate article on the “tragedy of
411
destination”. In it, he followed not only the religious
and literary sources of Oedipus Rex but also discussed
modern realisations of the prime theme of Sophocles’
great work. Upon the example of plays by Shakespeare
(Macbeth) and Ibsen (Ghosts) Zieliński recorded the
changes to which Greek destiny was subjected in mod
ern drama and disclosed its interiorisation. In modern
mentality, in contrast to Greek tragedy, destiny ceased
being external, a transcendent force acting next to
and above the protagonists, and became a psychologi
cal moment: a prediction-suggestion, which the pro
tagonist believes (Shakespeare) or immanent destiny,
part of history, the past, the protagonist’s biography
(Ibsen).
The more interesting, therefore, is the conclusion
drawn by the brilliant philosopher reflecting on the
manner in which the Greek idea of destiny exists in
our culture: After all, even now the fate of Oedipus caus
es all the sensitive strings of our soul to tremble; naturally,
this takes place not because we believe in the existence of
transcendent destiny, which occurs in the Sophocles trag
edy as the great opponent of the protagonist. No, we regard
them only as a symbol —in itself it not real, in contrast to
the terrible, unspeakable “something”, which it symbolizes.
It is exactly this terrifying “something”, due to its unexstinguished and directly experienced realism that compels us to
treat symbolised transcendent destiny as reality. I have in
mind, obviously, the contemporary public and not the one
from the times of Sophocles or the latter.38
It is easy to recognize this terrible, unspeakable
“something“ in the sentence passed by fate, which Fab
er complained about and was unable to comprehend.
He added that he was not in love; on the contrary,
before the two protagonists began talking Sabeth was
even more of a stranger than any other girl, and the
fact that he and his daughter struck up a conversation
was an entirely improbable coincidence. They could
have just as well walked past each other. Why speak
about a twist of fate if everything might have followed
an entirely different course.39 Really?
That terrible, unspeakable “something” appeared in
the lives of Faber and Sabeth in a mild version and
without any forecasts of unpleasant consequences. Just
like in the unusual, ironically light and philosophically
“heavy” poem by Wisława Szymborska:
Because they didn’t know each other earlier, they sup
pose that
nothing was happening between them (...)
They’d be greatly astonished
to learn that for a long time
chance had been playing with them.
Not yet wholly ready
to transform into fate for them
it approached them, then backed off,
stood in their way
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
and, suppressing a giggle,
jumped to the side.
There were signs, signals:
but what of it if they were illegible (...).40
Faber and Sabeth. In a short while chance playing
with them will transform into fate. First by bringing them
together in a hotel room, as in another poem by Szym
borska, which just like its predecessor penetrates
Chance turns a kaleidoscope in her hands.
Billions of collared glass particles flash.
Suddenly Hansel’s piece of glass
crashes with Gretel’s.
Imagine, in the same hotel. (...).41
the mystery of chance to find fulfilment some time
later in Sabeth’s death. Could it be that chance is just
another name for destiny?
Faber endeavoured to discover the meaning of the
whole story, sought the reasons for his crime, and re
constructed the chain of causes and dependencies that
resulted in the "fatal” ending. If the stewardess had
not looked for him, if he had not spoken to Hencke,
if he had not boarded the ship earlier, if he had not
travelled together with Sabeth ... If, if, if. Tragedy is
inscribed into the conditional tense. Why did all this
have to happen to me, asks Faber. Why did he have to
be the “chosen one”? And is he really guilty?
There are no good, i.e. unambiguous answers to
these questions. Indicating hybris as the sole source
of Faber’s crime is not the solution but reduces the
complexity of the whole story to a single dimension.
Such would have been the answer of a moralist. But
just as real as Faber’s cognitive pride was that terrible,
unspeakable "something” regardless how we would be
inclined to define this ambiguous "Delphic” expres
sion: as chance, destiny or the very fact of having been
born. Faber’s crime is not ethical (a description intro
duced by Czapliński), because no ethical ban had been
violated consciously. This is a t r a g i c crime, in whose
case all moral and legal categories lose their sense.
Guilt of this sort does not match any of the paragraphs
of the penal code and a court verdict is not applica
ble. This is the sort of crime and its references to con
temporaneity that were described extremely aptly by
Gardener. The celebrated tragic theory of guilt, which
int he case of Aristotle did not as yet play any role,
does nto exolain even contemporary tragedy. Tragedy
does not take place in those cases where just penance
corresponds to the crime and where the moral ac
count of the guilt is complete. Full subjectivisation of
crime and fate is also absent in contemporary tragedy.
A characteristic feature of the essence of tragedy is
rather an excess of tragic consequence. Despite the
whole subjectivity of the crime, even modern tragedy
includes the moment of that ancient supremacy of
412
fate, revealed in the disproportion of crime and fate as
equal for all.42
Faber, just like Oedipus, is both guilty and
not guilty. There where we would like to see an all
examining and resolving alternative we come across
an incomprehensible conjunction of contradictions
violating the rigours of logic. We face the mystery of
individual fate.
Importantly: both in the Schlondorff film and
in Oedipus Rex there is no solace. Nor is there any es
cape from the existing situation. For the protagonist
such liberation may be achieved only in and through
tragedy. The price of such freedom is tragic clairvoy
ance, a poignant variant of self-knowledge. Contra
dictions are not eliminated.
We leave both tragic protagonists: Faber and his
wife-to-be Hannah watching fragments of a movie
made by Faber during a joint voyage with Sabeth - a
laughing, happy and, more significant - living Sabeth.
Schlondorff: Frisch recalled the experience of watching
a film shot with an 8 mm camera, which a friend of his
showed every Sunday after the death of his wife. Over and
over again, he had to watch how she tirelessly runs across
a blossoming meadow from the world of the dead, once
again tears her skirt while climbing over a fence and turns
her laughing face at the camera. In his opinion this im
age expressed perfectly the meaning of being dead.43 We
thus abandon Faber-Sisyphus at a moment when he is
left only with helpless contemplation of the reality of a
shadow, with clairvoyant gazing at non-being.
In a peculiar moment at the end of the story we
realise, at first still not very clearly, that it is we, the
spectators who just like members of the ancient audi
torium are taking part in a tragic spectacle into which
we had been drawn by the symbolic-mythical message
of the events, not quite aware of the cathartic experi
ences in the finale. Stranger still is the fact that eve
rything occurred not via participating in a theatrical
spectacle but at a time when we were looking at the
rectangle of the screen. Even Marx, deliberating on
the eternal topicality of Greek art, could not have en
visaged this.
Endnotes
1 D. Bell, The Cultural Contradictions of Capitalism, London
1979, p. 165.
2 E. Sabato, Nieznany da Vinci, „Odra”, no. 7-8: 1985, pp.
45-46. Werner Jaeger wrote in a similar spirit about
Sophocles' protagonists: The ineffaceable impression which
Sophocles makes on us today and his imperishable position in
the literature of the world are both due to his character-dra
wing. If we ask which of the men and women of Greek tra
gedy have an independent life in the imagination apart from
the stage and from the actual plot in which they appear, we
must answer, “those created by Sophocles, above all others”
(...). The perfection of those characters does not lie in
the purely formal sphere but its source is contained in
D ariusz C zaja • HOMO FABER. ACCIDENT OR NECESSITY
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
much deeper domains of human nature where aesthetic,
moral and religious factors are linked and accentuate
each other, W. Jaeger, Paideia, Warszawa 1962, vol. 1, p.
288 and 290.
Bell, op. cit., p. 166.
By way of example: Orpheus by J. Cocteau, Electra by
Cacoyannis and, predominantly, Oedipus Rex and Medea
by Pasolini.
Y. Lotman, Semiotyka filmu, Warszawa 1983, pp. 5-6.
Lotman stressed the irony and distance towards the
depicted conflict distinctly present in Polanski's film:
The protagonists of the film experience a drama that destroys
their whole life but for the author the drama lacks tragic
profoundness and significance - viewing it from a distance he
sees only the eternal buffoonery of a recurring ritual, ibidem,
p. 7. An excellent example of the mythography interpre
tation of the film in which equal importance is attached
to similarities and diffrerences between the mythical
story and the plot is the article by T Jefferson Kline,
Orfeusz transcendujący: “Ostatnie tango w Paryżu”
Bertolucciego, “Polska Sztuka Ludowa - Konteksty”, no.
3-4: 1992, pp. 100-107.
Schlondorff o Maksie Frischu, „Kino“, no. 10:1992, p. 47.
Ibidem, p. 19.
Ibidem.
Ibidem.
Schlondorff z Babelsbergu, „Kino“; no. 5: 1993, p. 33.
W. H. Auden, Grecy i my, in: idem, Ręka farbiarza i inne
eseje, selection M. Sprusiński and J. Zieliński, introd. J.
Zieliński, Warszawa 1988, pp. 422-423.
I assume that the above recalled interpretation concepts
are part of basic humanities and there is no need no
delve into them more extensively.
P Ricoeur, Egzystencja i hermeneutyka. Rozprawy o meto
dzie, selection, prep. and introd. P Cichowicz, Warszawa
1985, p. 141. Cf. also criticism of a one-sided approach
to symbols and images in Freudian psychoanalysis: M.
Eliade, Sacrum - mit - historia, selection M. Czerwiński,
introd. B. Moliński, Warszawa 1970, p. 35.
P Ricoeur, Model tekstu: działanie znaczące rozważane jako
tekst, „Pamiętnik Literacki”, LXXV, 1984, fasc. 2, p.
349.
V. Y. Propp, Edyp w świetle folkloru, typescript. This is an
article issued in the collection: Folklor i dieystvitielnost,
Moscow 1976. I owe access to the translation to the
kindness of its author, Danuta Ulicka.
R. Girard, Sacrum i przemoc, Poznań 1993, p. 120.
R. Girard, Kozioł ofiarny, Łódź 1987, p. 65.
M. Frisch, Homo Faber. Relacja, Warszawa 1964, pp.
31-32.
Bell, op. cit., p. 148.
M. Eliade, Kowale i alchemicy, Warszawa 1993, p. 176
177; 177-178.
P Averintsev, W poszukiwaniu symboliki mitu o Edypie, in:
idem, N a skrzyżowaniu tradycji, Warszawa 1988, pp. 159
160.
H. G. Gadamer, Prometeusz i tragedia kultury, in: idem,
Rozum, słowo, dzieje, Warszawa 1979, p. 174.
Auden, op. cit., p. 423.
Cf. Averintsev, op. cit., pp. 154-155.
Schlondorff o Maksie Frischu, p. 19.
Averintsev, op. cit., p. 159.
Ibidem, p. 160.
K. Jaspers, O tragiczności, in: idem, Filozofia egzystencji,
Warszawa 1990, p. 343.
413
30 Ibidem.
31 Sophocles, Oedipus the King, v. 1268-1273.
32 An expression proposed by Ricoeur, Egzystencja..., p.
143.
33 Averintsev, op. cit., pp. 168-169.
34 Sophocles, Oedipus the King, v. 786-789.
35 Quoted after: Ricoeur, Egzystencja ..., p. 74.
36 Schlondorff o Maksie Frischu, p. 19. upon this occasion it
is worth recalling yet another fragment of Schlondorff's
recollections demonstrating how Frisch regarded Homo
Faber as a deeply personal work and how "reality” was
immersed in ”fiction”: Frisch described to me Sabeth on the
ship deck in enormous detail: the weather, the way the clouds
floated by, and how hienever forgot how later, in Southampton,
she left the ship and got lost in a crowd. Here, I interrupted
him: “Just a moment, they were both sailing to Le Havre”.
He replied: ”Yes, in thae book, but in life she got off in
Southampton”. These are thoe moments when one no longer
deals with a made-up story but comes across something that
had been truly experienced (my emphasis - D. C.), ibi
dem.
37 Frisch, Homo Faber, p. 182.
38 T Zieliński, Król Edyp. Tragedia przeznaczenia, in: idem,
Szkice antyczne, Kraków 1971, pp. 464-465.
39 M. Frisch, Homo Faber, p. 106.
40 W. Szymborska, Miłość od pierwszego wejrzenia, in: Koniec
i początek, Poznań 1993, pp. 26-27.
41 W. Szymborska, Seans, op. cit., p. 24.
42 F. G. Gadamer, Prawda i metoda, Zarys hermeneutyki filo
zoficznej, Kraków 1993, pp. 145-146.
43 Schlondorff o Maksie Frischu, p. 19.
