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ROMÀNIA ORIENTALE Dipartimento Di Studi Europei, Americani E Interculturali 31 ROMÀNIA 2018 ORIENTALE DIPARTIMENTO DI STUDI EUROPEI, AMERICANI E INTERCULTURALI University Press ROMÀNIA ORIENTALE Dipartimento di Studi europei, americani e interculturali 31, 2018 2018 L’ERRANCE ÉTERNELLE DU DESTIN JUIF DANS LE MAL DES FANTÔMES BENJAMIN FONDANE: BUCAREST-PARIS-AUSCHWITZ Emilia David Abstract – The individual destiny and the intellectual biography of Benjamin Fon- dane allow us to reconstruct his existential pathway as a sequence of three fundamen- tal stages, marked by three emblematic cities: Bucharest-Paris-Auschwitz. The last one represents an infernal, ominous topos, a place of no return. Bucharest and Paris were the cities that profoundly shaped his cultural identity. In the capital of his first country he assiduously attended to the birth and development of several modernist and avant-garde artistic groups. On the other hand, from the late 1920s on, the City of Lights made it possible for Fundoianu-Fondane to assert himself as a philosopher within the frames of existentialism and to be recognised as an essayist of European stature. His transfer to Drancy (1944), which then led to his being sent to the gas chambers of the Nazi concentration camp from Auschwitz-Birkenau, marked the be- ginning of a personal experience which precipitated into a brutal and atrocious end. This study will present a few documentary texts, published in literary journals of the French Resistance, such as Les Lettres Françaises and Les Cahiers du Sud. We will also include other aspects relating to Benjamin Fondane’s contributions to the periodical publications of the French Resistance, revealing the vocation of some cities and personalities to become entrenched in collective memory as benchmarks of moral revolt and intransigence. Keywords: Deportation, Holocaust, French Resistance, Existentialism, City, Exodus Introduction Le destin individuel et la biographie intellectuelle de l’écrivain, artiste et philosophe Benjamin Fondane permettent de reconstituer son par- cours existentiel comme une succession de trois étapes fondamentales, 190 Romània Orientale marquées par autant de villes et de destinations emblématiques, dont la dernière représente plutôt un endroit infernal, sinistre, le lieu du non-retour: București-Paris-Auschwitz. Mon essai propose tout d’abord la présentation de quelques frag- ments du poème Le Mal des fantômes, l’un des derniers textes poétiques de l’écrivain roumain-français récemment récupérés, qui concentre dans ses significations les plus profondes l’expérience traumatique du peuple hébreu au cours de toute son histoire. Mais la démarche montre que dès la période parisienne, lorsque Fondane avait commencé à composer ses grands poèmes métaphysiques sur l’exil – d’Ulysse (1933) à Mal de Fan- tômes (1943-1944) –, il adoptait progressivement la vision du déracine- ment et de la dépersonnalisation, pour aboutir à la perception prophé- tique et apocalyptique du destin juif, envisagée comme errance éternelle, c’est-à-dire une condition à laquelle le destin du poète s’identifie. Dans le poème qui constitue l’objet principal d’analyse de cet essai l’exode de la parole et l’exode existentiel, ce dernier entendu dans le sens historique le plus concret, participent également à un exil indénia- blement métaphysique. Le 2 octobre 1944, à l’âge de 46 ans, mourait dans les chambres à gaz du camp de concentration nazi d’Auschwitz-Birkenau Barbu Fundoia- nu, alias Benjamin Fondane, mais son vrai nom, d’origine juive, était Benjamin Wechsler. Il était né le 14 novembre 1898 à Iaşi, en Moldavie, dans la famille d’un commerçant de la région de Herța. Enfermé dans le camp de Drancy, après avoir participé à la Résis- tance française et avoir réussi à éviter les conséquences des lois antisé- mites absurdes, Benjamin Fondane a la chance d’obtenir sa libération en 1944, grâce à l’intervention de ses amis Jean Paulhan, Stéphane Lu- pasco – (né en 1900), un philosophe français d’origine roumaine et ami de Ionesco, Breton et Dali – et de Emil Cioran, un autre compatriote qui allait devenir, toujours à Paris, dans les années qui suivirent, un des plus importants philosophes nihilistes du XXe siècle. Pour lui, cette liberté aurait été acceptable seulement à condition que sa sœur, Lina Pascal, enfermée dans le camp, puisse aussi le suivre. Leon Volovici, un des plus grands spécialistes de l’antisémitisme roumain, indique dans un de ses articles, intitulé Epilogul unei prietenii [L’épilogue d’une amitié], la tentative inutile des trois intellectuels précé- L’errance éternelle du destin juif dans le mal des fantômes 191 demment cités de le sauver de son fatal destin qui le conduira à une mort horrible à Auschwitz. Les trois hommes avaient réussi à obtenir sa libéra- tion, mais pas celle de sa sœur Lina. C’est pourquoi Fondane préféra par- tager le sort de celle-ci, c’est-à-dire la déportation à Auschwitz, le 30 mai, dans l’avant-dernier convoi envoyé en direction de ce camp1. Dans plusieurs interviews Cioran évoque Fondane et le décrit comme un écrivain et un philosophe qui vivait ses idées et ses convic- tions avec une passion incendiaire2. Fondane “avait une présence impo- sante”, et comme le rappelle Cioran mais aussi d’autres commentateurs de son œuvre, c’était un intellectuel qui rejetait les postulats d’une raison myope, qui se limitait à la simple réalité des faits3. Enfin, le philosophe nihiliste lui consacre encore un portrait ému dans les Exercices d’admira- tion, où affleurent dans son souvenir les moments concrets d’une amitié intellectuelle tout à fait spéciale et les conversations passionnées, qui fascinaient littéralement l’interlocuteur plus jeune4. Il a laissé en héritage à sa femme, Geneviève, l’ensemble de ses poé- sies parues en France, qui fut édité plus tard (en 1980) sous le titre Le mal des fantômes, et qui inclut les grands poèmes prophétiques qui ont surtout pour thème le topos moderne du ‘juif errant’. Il s’agit des poèmes Ulysse, L’exode, Titanic, auxquels vient s’ajouter à la fin de son existence le poème homonyme, Le mal des fantômes. Dès cette brève introduction on devine la précarité de sa condition dans la capitale du pays qui a représenté pour lui le modèle culturel absolu et le monde idéal de l’esprit. Son salut aurait été possible grâce justement à la qualité intellectuelle de ses amis parisiens, mais son hu- manité n’a pas admis de compromis avec lui-même. Même si Paris était “étrange”, méfiant, punitif à cette époque-là à l’égard des juifs de toute nationalité, la ville avait laissé cependant une sortie de secours à Fon- dane, “le voyou”. La formation en Roumanie Reprenant le fil chronologique de sa biographie intellectuelle, il faut dire que Barbu Fundoianu s’est affirmé très tôt dans sa culture d’origine, comme poète et comme traducteur de la littérature française, au sein des groupes symbolistes roumains. 192 Romània Orientale Excellent connaisseur de la littérature yiddish, il approfondit la tra- dition biblique et mystique du christianisme et aussi le judaïsme au- quel il a consacré dans les années 1920 quelques articles, qui ont été édités dans des publications hébraïques. En 1916, il écrit un des premiers comptes rendus de l’ouvrage post-symboliste Plumb [Plomb] de George Bacovia, un des plus grands poètes roumains du début du XXe siècle, avec qui il découvre de pro- fondes affinités par rapport au thème de l’aliénation produite par l’at- mosphère provinciale. C’est à l’année 1930 que remonte son recueil de vers Privelişti [Vues5], qu’il dédie à Ion Minulescu, un des défenseurs, dans les premières an- nées du nouveau siècle, des innovations et des révoltes iconoclastes qui ont marqué le modernisme poétique roumain. Dans cette “monogra- phie lyrique” de la Herța et de la Bucovina – terre où sont nés aussi le poète Paul Celan et le romancier Norman Manea, deux autres victimes des persécutions antisémites – même si le dernier a survécu –, Fondane se détache de son identité roumaine, une séparation préfigurée aussi par les forts accents d’un expressionisme apocalyptique. Essayiste irrévérencieux, possédant une vaste culture littéraire et philosophique, Fondane collabore de façon assidue aux revues cultu- relles les plus importantes de la capitale roumaine de l’époque – Ram- pa [La Rampe], Sburătorul [L’esprit volant] et Contimporanul [Le contem- porain]; ce dernier étant le périodique moderniste le plus durable de l’avant-garde historique roumaine, dont Fondane sera un des plus grands représentants, et où il publiait dans la rubrique Ferestre spre Eu- ropa [Fenêtres vers l’Europe]. Pour se faire une idée plus précise de la fécondité culturelle de l’au- teur pendant sa période roumaine, qui a pour cadre le milieu artistique de Bucarest, Olivier Salazar-Ferrer nous informe – citant à son tour un autre spécialiste, Éric Freedman – que Fondane “aura publié près de 550 articles et poèmes dans les revues roumaines”6, entre 1912 et 1923, l’année où il s’est expatrié. C’est en 1922 qu’éclate sa polémique avec le plus grand critique lit- téraire roumain du début du XXe siècle, Eugen Lovinescu, à la suite de la préface que le jeune essayiste avait insérée dans son volume Imagini și cărți din Franța [Images et livres de France] et qui incluait des analyses L’errance éternelle du destin juif dans le mal des fantômes 193 consacrées à ses écrivains français préférés, où il affirmait avec une vé- hémence destructrice que la littérature roumaine était une colonie mi- neure de la France (une “colonie de la culture française”). C’est peu après que prend fin la phase de la maturation culturelle de Barbu Fundoianu
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