Page 98 - Studia Universitatis Hereditati, vol 12(2) (2024)

Gestures and Rituals In contrast, the approach to icon venera-
The episode concerning the veneration of icons, tion presented by author Maryse Choisy (1903–
as recounted by Swiss journalist Michel Egger in 1979) is particularly striking. After undergoing a
1993, elucidates the distinctive Orthodox perspec- mastectomy, Choisy claimed to have entered the
tive on monastic practices. Egger, born in 1958, male-restricted peninsula of Mount Athos dis-
articulates that the devotional act of venerating guised as a man. Her narrative is imbued with
icons ‘does not bother him’ and, for him, carries irony, especially in her description of the re-
‘nothing idolatrous or superstitious.’ Comment- nowned icon of the Virgin Portaitissa from the
ing on ‘these ballets of monks’ during services, Iviron Monastery. She recounts that, following
Michel Egger specifies how, by becoming Ortho- a ‘surgical sword stroke’ inflicted by an ‘icono-
dox, he ‘had to relearn’ that he had ‘a body and clast,’ the icon ‘began to bleed and still bleeds
on days of mourning.’ Choisy notes, ‘Naturally,
98 that this body, far from being the ‘sepulchre of I didn’t see her on a day of mourning,’ and adds
the ‘soul’, could be the ‘temple of the Spirit’. The
first sign of the cross was a terrible fight. Heavy that ‘the wound is so gaping that your breasts
studia universitatis hereditati, letnik 12 (2024), številka 2 / volume 12 (2024), number 2
with a Catholic education rejected as a teenager, hurt (even when they are cut) just by looking at
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he was slow to come’ (Egger 1993, 32). her’ (Choisy 1931, 74–75). While the veracity of
In a subsequent narrative, Egger also re- her account may be questioned, her perspective
counts that ‘his unbelieving and Protestant remains a compelling contribution to the dis-
friends’ had found the veneration of icons shock- course surrounding the history of literature and
ing on another trip when they visited Romani- the cultural significance of icon veneration.
an churches. We thus see that he adapts to his Jacques Lacarrière presents an innovative
status as an Orthodox pilgrim but specifies that approach to depicting Mount Athos in his inau-
this veneration ‘does not really affect him’ and gural work dedicated to this monastic commu-
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that he does not ‘yet understand its full depth’ nity. Lacarrière’s narrative is significantly shaped
(Egger 1993, 32). by the monks’ writings and reflections, which re-
inforce the imagery associated with Athos. The
parmi les chants: ils jouaient au Paradis, ils étaient des ang-
es et les prophètes parmi les séraphins et les constellations. text is organized into concise sections, includ-
Puis ils commencèrent à réciter les litanies des Saints, des ing ‘The Monasteries,’ ‘The Historians at Mount
martyrs des débuts su Christianisme, celles des enfants Athos,’ ‘The Days and the Nights,’ ‘The Monks,’
torturés sous Tibère, sous Néron, flagellés à mort, brûlés
vifs. Des chants encore, d’une incroyable douceur, d’une and ‘The Hermits.’ These segments collective-
mélancolie déchirante, des cris de joie, d’amour, des san- ly explore the interplay between legend and his-
glots, et parfois le murmure de la volupté. Mon tour vint
d’être encensé; je m’inclinais en silence et respirai l’âcre torical reality as conveyed through the perspec-
parfum de l’encens. Certains vieux moines ressemblaient tives of the monks, manifesting as brief visual
à mon oncle.’
40 ‘ce geste dévotionnel ne le gêne pas », n’ayant pour lui, « vignettes—akin to photographic snapshots—
rien d’idolâtre ni de superstitieux. » 152 Commentant « articulated in Lacarrière’s fragmented prose: ‘Af-
ces ballets de moines » lors des offices, Michel Egger pré-
cise combien, en devenant orthodoxe, il lui « a fallu réap- ter which comes night. We wake up, everything
prendre » qu’il avait « un corps et que ce corps, loin d’être shakes, we are surprised by a kind of ballet in the
le ‘sépulcre de l’âme’, pouvait être le ‘temple de l’Esprit’.
Le premier signe de croix fut un combat terrible. Lourd de dark: the monks and their shadows who waver
toute une éducation catholique rejetée à l’adolescence, il in the corridors, who kneel in the church, lavish
fut lent à venir.’ kisses on the Virgin, on Christ and to the saints,
41 ‘ses amis mécréants et protestants » avaient trouvé cho-
quante la vénération des icônes , dans un autre voyage, vis- 42 ‘d’un coup d’épée chirurgical » par « un iconoclaste » «
itant les églises roumaines. On constate ainsi qu’il s’adapte se mit à saigner et saigne encore les jours de deuil. », elle
à son statut de pèlerin orthodoxe, mais précise que cette note: « naturellement, je ne l’ai pas vue un jour de deuil
vénération « ne le touche pas vraiment », et qu’il n’en sais- » et ajoute que « la blessure est si béante qu’on a mal aux
it « pas encore toute la profondeur’ seins (même quand ils sont coupés) rien qu’en la regardant.’