Traditionalism: A Primer

Moreau Hesiod & the Muses (1860)

Gustave Moreau (1826 – 1898): Hesiod & the Muses (1860)

Fish know not that they swim in the sea, nor birds that they swoop in the air.  No more do the denizens of the prevailing era know that they live out their lives in a philosophically narrow, righteously conceited, anti-human, and anti-natural dispensation, calling itself modernity, which can trace its immediate beginnings only to the Eighteenth Century, and which represents a radical break with thousands of years of accumulated wisdom gleaned painfully from a massive human experience.  No doubt but contemporary modern people, when they hear an invocation of the Eighteenth Century, locate that century in a periwigged past, thinking that it could not possibly have anything to do with them, as they exist, in the transient now.  This very attitude betokens, in fact, an essential feature of modernity, which idolizes the present moment as the figure of a so-called progress that is self-consummating and that makes obsolete everything belonging to any moment in the historical continuum that precedes it.  Indeed, the modern mentality necessarily rejects history; it is fundamentally non- or anti-historical, which also makes it anti-memorious, devaluing not only history, but memory.  Thus the modern mentality has conveniently forgotten the violent origins of its perpetually disruptive mode.  The mendaciously self-designating Enlightenment, rejecting the moral and intellectual inheritance of the European Middle Ages, viciously attacked the vestiges of the past and in so doing set the stage for the mayhem and terror of the French Revolution.  The violence of modernity would perpetuate itself through the centuries, murdering a hundred million people in the middle of the Twentieth Century, always in the righteous name of that selfsame progress.  The convulsion of modernity, however, provoked a response, and that response took the form of Traditionalism – a critique of modernity that seeks also to curb modernity, and to curb it for the sake of a human restoration.  In Traditionalism humanity remembers itself.  Traditionalism attempts to revive an immemorial wisdom and to place it once again at the memorious center of institutions.

The earliest representatives of Traditionalism gained prominence with the onset of revolutionary agitation in France in 1789.  The Terror of September 1793 to July 1794 and the executions of the royal family, beginning with Louis XVI in January 1793 and concluding with Louis’ ten-year-old son and heir apparent in 1795 galvanized them.  The Jacobins labeled the original Traditionalists reactionaries.  But the term reaction requires a context.  Reaction originates, in fact, in the revolutionary mentality itself, which reacts, or rather rebels, against the Tradition.  Such names as Joseph de Maistre (1753 – 1821), René de Chateaubriand (1768 – 1848), and Edmund Burke (1729 – 1797) stand at the center of Traditionalism and produced the heart of its classical expression.  In Contra Mundum – Joseph de Maistre and the Birth of Tradition (2017), Thomas Garrett Isham makes an important point about both Maistre himself and the loosely organized movement that Maistre initiated.  Isham tells of Maistre’s adherence to the Catholicism in which he came to manhood and of his loyalty, both as citizen and public servant, to the Kingdom of Piedmont-Sardinia.  When in 1792 the Revolutionary Army invaded Savoy, the Piedmontese départment where Maistre’s parents had brought him into the world and raised and educated him, the magistrate and senator experienced the bloody barbarity and atheistic intolerance of revolutionary-nihilistic politics at first hand; the dispossession of his property and his forced exile to neighboring Switzerland provoked in Maistre a colossal reorganization of his philosophical and theological assumptions.

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There Is No Such Thing As Rule of Law

Rule of Law is often cited as one of the distinctive characteristics of the West, and of Western cultures, which has enabled the West and kindred cultures to rise above despotism, corruption, and poverty. And so it is. The keeping of the Law is traditional in the West.

But, the Law is only as good – can do only so much good – as the men who keep it. It is men who by their acts keep to the Law, enforce and adjudicate it honestly and as fiduciaries of the nation, or who do not; who transmit the tradition they have inherited, or who traduce it.

Rule then is always of men.

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Apologetical Weapons: Projection Manifests a Conviction of Personal Evil

It is a commonplace of neoreactionary and reactionary discourse that Social Justice Warriors always project. Once you’ve digested a Red Pill, in respect to any domain of life, you cannot help but notice this phenomenon. No one in the modern West is as hateful as the haters of haters; no one in the modern West is as blind to his own hatred.

It is worth remembering, then, that as Jung first developed the notion of projection from his own vast clinical experience, projection is of those traits that people most abhor in themselves. It arises from their deep conviction of their own personal evil. What we most hate in others then is – so Jung found – a pretty reliable indication of what we hate in ourselves, but would rather not confess to ourselves, or of course a fortiori to anyone else.

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Chastek Asks a Good Question

James Chastek’s Just Thomism is one of the sites I read without fail. I like it because he teaches me lots of things. He closed comments a while ago because responding to them took up too much time. So here is what I would have commented at his blog if he still allowed comments, in response to this post:

Many of the books in the “decline of the West” genre – which was already old by the time Weaver published Ideas have Consequences in 1948 but which still sells (Deneen’s Why Liberalism Failed) – tell a curious narrative of decline over very large time scales. If Nominalism or Hobbesianism were as harmful as claimed, why is the diseased host still alive a half-millennium later?

Now that’s a good question. I myself have contributed a fair bit to the literature wailing and bemoaning nominalism. How do I answer the question?

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Is Traditional Culture Even Possible Henceforth?

The acid eating at tradition is cheap information. This is to say that the acid eating away at cultures – all cultures, properly so called – is cheap information.

And information is from now on essentially free.

Can there then ever again be such a thing as a coherent traditional society?

Sure, tradition is necessary; it is the atomic stuff of culture as such. But is it even possible anymore? Are we looking at the death of culture?

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The Sigil of the Orthosphere

Thanks to InfoGalactic, I learned the other day a bit about Chaos Magic. I had searched on “egregor” – the Greek for “watcher,” a topic of some interest to me – and found out that it is a term of art in that discussion. In Chaos Magic, an egregor is an artificial spirit, created by a magician as at first a heuristic hypostatization, a “thought form,” devised for his own convenient internal usages, of some nexus of impulses within himself – sometimes nice, sometimes not so nice (as, say, a besetting temptation) – so as to identify and, above all, simply *notice it,* and thus address it more aptly; and then at some point publicly promulgated, so that it then engages the interest and attention of other practitioners, who find it useful and adopt it for their own internal operations, so that it then informs their activities. A meme, in other words, but a meme that has some intrinsic characteristics that lend it suasive and informative powers, so that it can seem to take on a life of its own, and become the apparent animating spirit of a whole group of people. Widely disparate people, not communicating with each other at all (so far as we can know), can evoke the response to current events of an egregor that has possessed them without any outward coordination, and in a unison of spirit and even of diction that is truly wonderful, even spooky.

There is much truth in this notion. Consider, e.g., anthropogenic global warming. Or transsexuality. Or Trump Derangement Syndrome. Or Communism. Or for that matter any fad or trend or notion, any ideology, that has little objective correlate or reason outside the merely social world.

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Alfvén’s Midsommarvaka

Hugo Alfvén (1872 – 1960) jumpstarted the genuinely Swedish school of concert music in the last decade of the Nineteenth Century and sustained his effort during the first half of the Twentieth Century. Following the example of the Russian composers, the ones denominated as “The Mighty Five,” Alfvén assimilated the heady tradition of Swedish folk music to the conventions of symphonic music. Alfvén wrote three “Swedish Rhapsodies.” The first, from 1908, celebrates the vestigially Catholic and vestigially Pagan festival of “May Eve.” The composition imitates Swedish folk-tunes, but all of the thematic material in Midsommarvaka is original to Alfvén. The composition falls on the ear as spontaneous and “natural,” but the score is brilliantly unified. Midsommarvaka is, in effect, a short symphony, in four movements, on Swedish themes. I have loved it since I first heard it in the early 1970s and I am happy to share it with the community of the Orthosphere.

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Actual Identity

The performances of the Russian, St.-Petersburg based, musical group Otava Yo, whose self-explanation is accessible here, much impress me. We live in an age where actual identity, that of the living person, finds itself in opposition to identity politics, which obliterates the living person for the sake of a wicked abstraction. Otava roots itself in the soulful tradition of Russian and (I believe) Ukrainian folksong. The old Cossack ditty, Oy Dusiya, Oy Marusiya, in lezhginka rhythm, taps into the richness of an authentic ethnic tradition. The moment in the video when the young woman sees herself in the mirror in traditional costume is particularly moving. Whoever directed the video directed it well. From the folk-costumes to the reference, through several historical layers of recorded music, to the lore of song, and to the fashioning of folk-instruments, the visuals tell a story of the debt to ancestry. Those who repudiate tradition condemn themselves to a shallow plagiarism of the prevailing correct opinion, while those who embrace the patrimony find themselves endowed with originality and creativity. Otava Yo’s women fetch me especially. They seem unembarrassed in being beautiful, which they are extraordinarily – and they pay tribute to feminine beauty in a powerful way, not least in their ritual hauteur. If anyone could explain the samovar subplot, I would welcome enlightenment.

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