Plato and Milan Kundera\'s Book

Plato and Milan Kundera's book "The Unbearable Lightness of Being

When asked about his characters in the Unbearable Lightness of Being, and how they emerged, Milan Kundera said referring to the character of Tomas, "And once more I see him the way he appeared to me at the very beginning of the novel. This is the image from which he was born.... Characters are not born, like people, of woman; they are born out of a situation, a sentence, a metaphor, containing in a nutshell a basic human possibility... The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them and equally horrified by them." (Doctorow). Indeed, Kundera's characters are bits of himself that are subjected to two major influences: the historical context of the novel (very familiar to Kundera himself), and the existentialist philosophy as expressed especially by Heidegger in his Being and Time (Kimbrell: 71); the title of Kundera's book is itself a reference to this particular philosophic trend. The lightness of being in Kundera's novel is represented as a lack of attachment, commitment or moral responsibility towards what the material earthly life presupposes. In this sense, each of the four major characters in the Unbearable Lightness of Being is portrayed as to illustrate different ways of tackling this philosophical theme of spiritual weight and lightness. The philosophical theme is closely related to the historical and political context of the story. Kundera's novel is an exploration of this connection, as it was generated by Soviet Czechoslovakia, a product of harsh historical circumstances filtered by a philosophical and deeply reflective consciousness.

Kundera opens his novel with a discussion of Parmenides' dichotomization of the world, and ends this section of the book with a question as to the accuracy of Parmenides' conclusion that lightness is positive whereas weight is negative: "Was he correct or not? That is the question. The only certainty is: the lightness/weight opposition is the most mysterious of all." (Kundera: 6) Kundera assigns a deeply philosophical question to his main character, Tomas. "What then shall we choose? Weight or lightness?" (Kundera: 5) Lightness is associated with freedom, experimentation, and a total lack of any sort of commitment. Albeit attractive, the perspective of lightness is also "unbearable" because it is marked by fragility and the realities of life. Weight, on the other hand, is linked to the idea of commitment and permanence, thus becomes unbearable because it is associated with responsibility. As far as the characters, this dichotomy also encompasses the duality of the body and soul. In this sense, the structure of Kundera's four major characters is a reflection of Plato's theory on the dualism of the body and soul. Plato was a dualist whose philosophy was centered on the idea that the soul and the body are two separate substances that interact, and that the real identity of an individual lies within the soul. The soul is conceived as light matter whose existence precedes that of the physical body; similarly, upon the death of the individual, the soul leaves the deceased body. Thesis: This paper argues that Plato's theory on the dualism of the soul and body is applicable to all of the four major characters in the Unbearable Lightness of Being. Furthermore, this paper examines how the connection between the two substances takes place in the case of each character, and to what extent they are marked by this interaction.

In order to understand how the theory of the dualism of body and soul is applicable to the characters in the Unbearable Lightness of Being, it is important to make a few theoretical considerations. The body belongs to the world, but the soul is associated to the Ideas (Roberts: 373). By 'soul,' Plato, like any other Greek, understands life i.e. The vital principle manifested in all entities which are regarded as living and moving, such as plants, animals, human beings, higher orders of beings (Clendon Lodge: 470). As far as the relationship between soul and body, there are two points which should be considered. Firstly, the body is an instrument. It is never a piece of meaningless mechanism, but is adapted, taking into consideration its limitations, to serve as an instrument for the expression of spiritual values. In the second place, the function of soul in relation to body conceived in this way as instrument is to use it, to make the fullest and wisest use of it, and to direct all its energies into the most valuable channel. "Moral and spiritual development consist of a reorganization of the bodily mechanisms so that these come to express, in ever closer approximation, the Ideas of temperance, courage, justice" (Clendon Lodge: 483).

The theory of the dualism of the soul and body was tackled by ancient philosophers such as Socrates, Plato and Aristotle. In the case of the Unbearable Lightness of Being, all of the four main characters exhibit this dichotomy. However, it is Tereza who best represents Plato's theory. In her case this dualistic approach is synonymous to a split between the two parts that make up her individuality. Kundera refers to his characters being "born of a stimulating phrase or two or from a basic situation. Tereza was born of the rumbling of a stomach." (Kundera: 39). As far this duality in the case of his characters, Kundera argues that "the old duality of body and soul has become shrouded in scientific terminology, and we can laugh at it as merely an obsolete prejudice." (Kundera: 40) in the beginning of the novel, Tereza is controlled by her self-image as far as her physical appearance, more precisely her body: "Tereza tried to see herself through her body." (Kundera: 41). Her entire identity as an individual is dictated by this image hence the only way she can face herself is by looking at herself in the mirror: "She often stood in front of the mirror, even as a girl. She looked in the mirror to see 'her own 'I'." (Ibid) Tereza is convinced that one's outer appearance reflects their inner self thus she believes that by seeing herself she can actually perceive her interiority: "She thought she saw her soul shining through the features of her face."(Ibid). Tereza's belief is generated by her relationship with her mother. The mother-daughter relationship was never a fulfilling one to Tereza who finds the physical resemblance to her mother deeply upsetting. Because Tereza rejects these physical similarities, she tries to make them disappear by staring harder at herself and wishing them away: "Each time she succeeded was a time of intoxication: her soul would rise to the surface of her body..." (Kundera: 41). The fact that her mother used to look in the mirror a lot, coupled with the latter's odd behavior which both embarrassed and fascinated young Tereza are the foundation for the behavior of grown-up Tereza. Also, while growing up, Tereza was faced with her mother's lack of inhibitions which she perceived as a lack of shame; her mother would walk around the house in her bra, or even naked. In this sense, Tereza's habit of looking in the mirror can be deciphered as a sort of confrontation with her mother, and her childhood: "It was a battle with her mother. It was a longing to be a body unlike other bodies, to find that the surface of her face reflected the crew of her soul charging up from below. It was not an easy task: her soul - her sad, timid, self-effacing soul lay concealed in the depths of her bowels and was ashamed to show itself." (Kundera: 47) Tereza's soul/body duality is also reflected in her intimate relations with her husband, Tomas. The first time they make love she screams; to Kundera, the act of screaming is not the manifestation of desire and fulfillment, in other words, it is not the scream of sensuality, which is "the total mobilization of the senses" (Kundera: 54), but Tereza's attempt to cripple her own senses: "What was screaming in fact was the naive idealism of her love trying to banish all contradictions, banish the duality of body and soul, banish perhaps even time." (Ibid) Kundera paints the picture of a woman who is desperately looking for a higher aim to her life. Tereza loathes the emptiness inside of her, and tries to defend herself from it: "No, vertigo is something other than the fear of falling. It is the voice of emptiness below us, which tempts and lures us, it is the desire to fall, against which, terrified, we defend ourselves." (Kundera: 60) in this context, the fall represents an inner revelation which would end the emptiness. Tereza dreams about women marching around the swimming pool doing knee bends, and of her husband shooting them from above. This is her desire for release and freedom manifested in her dreams i.e. A reflection of her consciousness: "These were her vertigo: she heard a sweet (almost joyous) summons to renounce her fate and soul. She was ready to dismiss the crew of her soul from the deck of her body." (Kundera: 60) at this point, a strong connection between body and soul is forged. Her mother is unwell, and Tereza wants to visit her. However, Tomas opposes this trip so she does not go. Tereza falls in the street hours later and injures herself. What follows is a series of small accidents which are symbols of her soul falling as well: "She was in the grip of an insuperable longing to fall. She lived in a constant state of vertigo." (Kundera: 61) the third step in the evolution of her dualism occurs when Tereza embarks on an extramarital affair with an engineer. She wants to become like Tomas hoping she can get back at him and his infidelities. The intimate relationship established between the two helps Tereza understand both her body and her soul. The touch of his hand on her breast "erased what remained of her anxiety. For the engineer's hand referred to her body, and she realized that she was not at all involved, only her body, her body alone." (Kundera: 154) She also learns that she cannot resist the touch of the engineer although at first she does not respond to it. Although her soul does not take part in the affair, her body is filled with excitement and responds very much against Tereza's will. However, she realizes that in order for her body to remain responsive, her soul must be silenced: "The moment it said its yes aloud, the moment it tried to take an active part in the love scene, the excitement would subside. For what made the soul so excited was that the body was acting against its will; the body was betraying it, and the soul was looking on." (Kundera: 155). The fact that her soul is a silent actor allows Tereza to see her own body in a different light for the first time; she is now fascinated with it, and regards it as something extraordinary: "This was not the most ordinary of bodies (as the soul had regarded it until then); this was the most extraordinary body." (Kundera: 155) the affair makes her realize that once the engineer is no longer looking at her, her excitement turns to "an intoxicating hatred" and she is "overcome by a feeling of infinite grief and loneliness." (Kundera: 157). These feelings of grief and loneliness determine the soul to retreat to the depths of her physical being "waiting desperately for someone to call it out." (Ibid) Tereza ultimately realizes that the affair with the engineer is weightless, and that the sight of her soul could only be restored through it: "But her soul was still blinded by love, and saw nothing. Making love with the engineer in the absence of love was what finally restored her soul's sight." (Kundera: 161) Tomas is a Czech intellectual who is politically silenced by the oppressive regime because he refuses to side with the Communists. He loses the right to practice medicine and is first a window washer, and then a farmer. This change in his life brings about alienation as he feels he no longer matter to anyone. Although he is presented as a seducer who can have any woman he wants, Tomas spends his life avoiding excitement and romance; his life is well-ordered and under his complete control: "Missions are stupid, Tereza. I have no mission. No one has. And it's a terrific relief to realize you're free, free of all missions" (Kundera: 313). Moreover, he disregards the laws of politics and love which he finds trivial and labels as kitsch. Tomas's duality is very clearly defined as the dichotomy between love and sex dictates that between soul and body. He is in love with his wife but sleep with other women. From this perspective, Tomas does not consider this aspect as problematic. Instead, he believes that love and casual sex are unrelated hence his soul can belong to one woman whereas his body is free to experiment.

His philosophy of lightness dictates that love and sexual encounters are unrelated; this way he leads a sexually experimental existence even though he is married to Tereza: "Tomas kept trying to convince her that love and love-making were two different things. She refused to understand." (Kundera: 142). The opposite of a romantic idealist, Tomas is deeply pragmatic and experienced, displaying individualism at its purest form: "Human decisions are terribly simple." (Kundera: 308). Hence he is unwilling to give up his freedom and identify himself as a liberal or a faithful husband; instead, he maintains his freedom and individuality and consequently, his "lightness": "He was not at all sure he was doing the right thing. But he was sure he was doing what he wanted to do" (Kundera: 220).

Tomas is a character that changes considerably throughout the novel; he grows as a result of his experiences. Tomas first feels the heaviness of being when Tereza goes back to Czechoslovakia and he remains in Zurich. His initial feeling is one of lightness because he is now free to fully experience life. "She might as well have chained an iron ball to his ankles. Suddenly his step was much lighter. He soared. He had entered Parmenides' magic field: he was enjoying the sweet lightness of being." (Kundera: 30). However, shortly after her departure, Tomas begins to miss her: "On Saturday and Sunday, he felt the sweet lightness of being rise up to him out of the depths of the future. On Monday, he was hit by a weight the likes of which he had never known. The tons of steel of the Russian tanks were nothing compared to it. For there is nothing heavier than compassion." (Kundera: 31) Tomas tries to resist the heaviness i.e. The feeling of compassion and loss, but is unsuccessful. Towards the end, when he abandons his job and moves to the country with Tereza, he realizes that the soul and the body are indeed separate entities, but that they cannot live in isolation from one another.