The Sacraments are Prior to Everything Else in Mundane Life

Liturgical innovation – e.g., priestesses – is metaphysically obtuse. It presupposes that the sacraments are merely human artifacts, when in fact – the Lamb having been slain from the foundation of the world – they are logically prior to the creation. We are not the masters of the sacraments, any more than we are the masters of the oceans or the skies. Our office is not to deform them, but to reckon and grapple with them, as objective aspects of Reality.

If Reality is Real, then the sacraments in respect thereto, as given ideally, are nowise subject to correction. They are, rather, handed down from on high. There is then nothing we might do about them, or want to do about them, other than to admit them wholly to our lives. Do they want correction? That then is to be had only in their admission to our lives.

Not us, first, but the rite, and of course the obedience in it signified.

What the hell is a ritual for, after all, if in the last analysis it is just meaningless? If a ritual is meaningful, then it must just force us to its formal purposes. In what other way might we be interested to participate in it?

Superstition & Subscendence: An Essay in Honor of Tom Bertonneau

Bear with me here. I hardly know where I am going with this, although I feel I have caught the spoor of something Tom would find delightful – that he would join with me joyfully in this new hunt. I’m confused because all I have is that spoor, and my spirits are in a hurry and a muddle due to his too soon death. I miss my friend of many years – of too few! I am not yet sure how to do with the world that, henceforth, shall miss him.

Tom has been a valued colleague since we first encountered each other. We corresponded often – not often enough, alas – about our hopes and worries in respect to our work, much of it coordinate here. We sometimes asked each other for editorial advice upon that work. I could rely on Tom for sound counsel. I hardly know how I shall manage without his sagacity.

But I must. I bid you all help me in that project, in which we may hope we can all together proceed for many more years to come. That would be a fitting legacy of his penetrant honest cheerful mind.

I propose that this essay be an early installment in something like a festschrift for Tom. Let us all try to limn what it was that he taught us. Perhaps we might make a book out of it. Or maybe just something on the scale of an issue of Amazing Stories, circa 1935: the sort of thing that was an important source of grist for the mill of his wits. That would please him, perhaps above all things we might do to honor him.

The Devil’s Latest Dictionary, Part I

[In the spirit of Ambrose Bierce.]

Note: Most of these definitions assume a certain point of view without which they become incoherent.

*

Fundamentalist. Noun. When you believe your religion is true and / or you support your people. Synonyms: bιgοτ, deplorable, suprεmαcιsτ.

Mansplain. Verb. To be competent and confident.

Equity. Noun. More for us, less for you.

Democracy. Noun. A political outcome or system which gives results we like.

Fαscιsμ. Noun. A political outcome or system which gives results you like. Synonyms: ωhιtε sυprεmαcy, institutional rαcιsm.

Protestor. Noun. Someone publicly taking our side.

Rioter. Noun. Someone publicly taking your side.

Diverse. Adjective. More of us, fewer of you. Synonyms: vibrant, inclusive.

Tolerant. Adjective. Demanding things be done our way.

Intolerant. Adjective. Wanting things to be done your way.

Cμlτμrαl αρρroρrιατιοη. Noun. When you play with our toys and we hαtε it because we hαtε you.

Rαcιsτ.  1) (Archaic noun) One who hαtεs people only because of their rαcε. 2) Adjective. The quality possessed by anything nonωhιτεs don’t like. 3) Noun or Adjective. ωhιtε people and their activities and achievements.

Science. Noun. A discipline or study which confirms our beliefs.

Superstition. Noun. A so-called discipline or study which denies our beliefs.

Crιτιcαl Rαcε Thεοry. Proper noun. You bad, we good.

Whιτε Prινιlεgε. Noun. Your ancestors established the culture of their nation according to their preferences.

Hαtε. Noun. Disagreement with our doctrine.

Love. Noun. Agreement with our doctrine.

On Conflation of Grammatical Persons as a Tactic of Our Enemy

I harp from time to time on the first and crucial importance of linguistic tradition, as the indispensable foundation of almost all others. We cannot very well maintain a social order if in discussing it we have no way to be each and all clear on what it is, exactly, we are talking about.

This is no original thought. Confucius was saying the same thing 2500 years ago. And Orwell saw clearly that deforming the language would deform – and ruin – culture.

The Leftist Establishment is hard at the ruin of language, with the recent risible emphasis on pronoun protocol.

Girard on Anthropogenesis

 Annibale Carracci (1550 – 1609): Lapidation of St. Stephen (1604)

In the two classic pre-Christian canons of Western myth – the Greek and the Norse – anthropogenesis is brought about by natural processes under the observation of the gods.  Man is earthborn in both canons, although indirectly in the Norse, and can therefore lay claim to a mother, either Gaia or Erda.  In both myths fatherhood remains in the shadows.  The gods who observe and interact with the earliest men conform to a model thoroughly anthropomorphic.  The presence of fully human gods suggests that man existed before he existed and that man needed instruction from man in order to recognize himself and learn how to adapt himself to the cosmic environment.  In the Hellenic and Scandinavian myths humanity enters into a world of violence.  Neither Zeus nor Odin has as yet organized the world under the concept of law.  The Greek and Norse canons share a word: Titan, an item of vocabulary that carries the inner meaning of brutal criminality.  This word occurs in Old West Norse as Jotun and in Anglo-Saxon as Eotan.  The giants, that is to say the Titans and Jotuns, war perpetually with the younger generation of gods.  Peace requires the Olympians or the Aesir to suppress the giants by main force; and even then peace reprieves the universe only temporarily.  Eruptions of chaos can occur anytime and anywhere.  The Christian anthropogenesis, which is in fact the Hebrew anthropogenesis, differs minimally from its Pagan and Heathen counterparts, but it differs nevertheless in subtle ways, which make a difference.  The Biblical God draws man forth from the clay, for example, by an intentional act; and God deliberately shapes man to resemble his Creator.  The Hebrew God is less anthropomorphic than the Olympians or the Aesir, even aniconic, but his immediate precursors in Near Eastern myth, such as the Canaanite Baal and the Babylonian Ea, testify that he stems from a man-like version of deity, fit for a standing image.  The physiognomic resemblance between Creator and creature is thereby explained.

Philosophical Skeleton Keys: The Play: Its Wright, Players, & Characters

This post is a sequel to my post on the stack of worlds. It tries to understand a few things about how a stack of worlds might work – or, perhaps, *must* work – and how those workings might help us untangle a few perplexities that have bedeviled thinkers for millennia. It is absurdly long, and for that I beg forgiveness. But I find there is little I can do about that, at present: when the inspiration comes, it comes as a unit, and the overwhelming necessity is just to get it all down before it vanishes.

Two Poems – George Sterling & Clark Ashton Smith

Odilon Redon (1840 – 1916): Vision (1883)

The name of George Sterling (1869 – 1926) has not figured for a long time in the educated consciousness perhaps because the educated consciousness suffers from a contraction of its horizon.  The name of Clark Ashton Smith (1893 – 1961) possesses more currency today than that of Sterling, but only within a circle of genre fanatics.  Ironically, Sterling more or less discovered the young Smith, encouraged him to write, and found venues for his early poetry.  After Sterling’s suicide, Clark made a frugal living by selling his prose to the pulps, tales of necromantic extravagance mainly, and amalgams of horror and science fiction, written for the most part for Weird Tales, one of the specialist sub-genre-journals of the mid-Twentieth Century.  Smith’s name circulates more widely today than it did in his lifetime in that his complete work in poetry, prose, and correspondence is available in print.  Very little of Sterling’s output remains in print; he is a phenomenon, more or less, of the antiquarian book market.  In Sterling’s lifetime however he stood at the head of the California Symbolist School, which, centered on San Francisco, took its cues from the verse of Charles Baudelaire and Stéphane Mallarmé.  Ambrose Bierce and Jack London praised Sterling in his lifetime.  Sterling enjoyed the reputation of being the “King” of California’s “Bohemia.”  Young poets looked to him for guidance, which he gave generously.  Anticipating the Beats, he indulged in alcohol, marijuana, and other, stronger drugs whereupon the toll of vice, not least mounting debt, led him to the taking of his own life by cyanide.  Smith’s modus vivendi no doubt protected him from a similar imbroglio.  Sticking to remote Auburn in the foothills of the Sierra Nevada Mountains, Smith avoided the citified pressure that exacerbated Sterling’s difficulties.  Sterling’s personality, more egocentric than Smith’s, carried a trace, unfortunately, of snobbism; he criticized Smith for his ambition to publish in the pulps and even for reading them.  Smith’s taste ran catholic – he would eventually translate almost the entirety of Baudelaire’s Fleurs du mal into English, knew Greek and Latin literature well, but delighted also in the stories of his fellow Weird Tales contributors.

Ralph Vaughan Williams – The “London” and “Pastoral” Symphonies and “Sinfonia Antartica”

Claude Monet (1840 – 1926): Port of London (1871)

The English composer Ralph Vaughan Williams (1872 – 1958) wrote nine symphonies over his lifetime beginning with the choral-orchestral Sea Symphony of 1910, a setting of Walt Whitman’s maritime verse, and ending with the Symphony in E-Minor of 1957.  Vaughan Williams eschewed a numbering system, designating his symphonic scores, which form the trunk of his compositional achievement, only by title or key signature.  As follow-ups to his Sea Symphony, Vaughan Williams produced A London Symphony (first version 1914; final revision, 1936) and A Pastoral Symphony (1921), both of which exhibit programmatic qualities although their author downplayed these, as have subsequent commentators.  The original version of A London Symphony had its first performance under Geoffrey Toye in its namesake city in March 1914, and A Pastoral Symphony, also in London, in January 1922 under Adrian Boult.  The next three symphonies (F-Minor, D-Major, and E-Minor) lacked titles, but the seventh, which drew on a film-score that the composer had written in 1947, he called Sinfonia Antartica.  The composer completed Sinfonia Antartica, after several years of revision, in 1952.  John Barbirolli then conducted the premiere in January 1953 with the Hallé Orchestra in Manchester.  The final symphony, sharing its key-signature (E-Minor) with the sixth, has literary roots in Thomas Hardy’s Tess of the d’Urbervilles (1891).  It depicts a characteristic topography, in this case the Salisbury Plain, as do A London Symphony, A Pastoral Symphony, and Sinfonia Antartica theirs – but it remains untitled.  In fact, A London Symphony also takes inspiration, at least in part, from a literary source – the epilogue to H. G. Wells’ Tono-Bungay, a novel that saw publication in 1906.  Although professedly an agnostic, Vaughan Williams (hereafter RVW) in his works, including the symphonies, repeatedly and almost obsessively approached the topic, in all its aspects, of transcendence.

Philosophical Skeleton Keys: The Stack of Worlds

This post supervenes my recent post On Some Happy Corollaries of Gödel’s Incompleteness Theorems (so you might want to review that post, and the earlier posts it cites in turn, in order to find yourself quite oriented in what follows (sorry, dear reader: not everything is TLDR)).

There is much talk in traditional cosmology of a stack of heavens above our own, and likewise of hells below. The hierarchy of angelic choirs echoes that stack. Most pagan pantheons feature such hierarchies of gods, with a Most High God above all gods, whom they worship, and who lives in the Highest Heaven which is above all the heavens. There is talk too of other worlds parallel to our own (such, e.g., as Jotunheim in the mythic scheme of the Vikings), that might communicate with each other (as at Ragnarok, when the giants of Jotunheim make war upon the men of Middle Earth and the gods of Asgard), so as to form a world of worlds.

That sort of talk struck me at first as fantastic, and so relatively irreal – despite its irresistible odor of concrete factuality, and its ubiquity in the traditions of Earth, and thus its uncanny tinct of credibility. There is also the difficulty that there is a certain beauty in the notion, that cannot be found in the flat idea that our world (however generously conceived (as with the various sorts of branching cosmoi proposed by this or that metacosmology)) is all there is. Then at last there is the ancient conviction of the Great Chain of Being, no link of which might be concretely missing if any part of the chain were to find concrete instantiation.

Two Recent Anti-Modern Critiques – Thaddeus Kozinski & Daniel Schwindt

Richard M. Powers (1921 – 1996): Modernity as Apocalypse

By the irony of belatedness, reaction emerges from revolution and the critique of modernity from modernity itself.  Tradition stopped being an unnoticed background and became a theme in writers like Joseph de Maistre (753 – 1821) and François-René de Chateaubriand (1768 – 1848) during and in the aftermath of the Revolution in France.  Having made modernity a theme, the work of Maistre and Chateaubriand, among others, could be carried on by writers of later generations.  In the first half of the last century, René Guénon (1886 – 1951) and Julius Evola (1898 – 1974) stand out as major inheritors of the reactionary genre.  Perhaps the name of Oswald Spengler (1880 – 1936) should be added to those of Guénon and Evola.  The two men were certainly influenced by Spengler’s Decline of the West (Volume I, 1919; Volume II, 1922), which sees the modern period as belonging to “civilization” rather than to “culture,” the former being for Spengler moribund and the latter alive.  According to Spengler, Culture, with a capital C precedes civilization; and civilization can last for a long time.  Nicolas Berdyaev (1874 – 1948) also contributed to the critique of modernity although the recognition of his brilliance and the appearance of his early titles together constitute a fairly recent phenomenon.  Every year sees the publication in many languages of books that owe a debt to these writers.  Among those appearing in English recently, one could point to Thaddeus J. Kozinski’s Modernity as Apocalypse – Sacred Nihilism and the Counterfeits of Logos (2019) and Daniel Schwindt’s Case against the Modern World – a Crash Course in Traditionalist Thought (2016).  Both will reward the reader even though their authors penned them (what a quaint term) before the events of 2020, which demarcated one age from its successor.  Both view modernity from a Catholic-Traditionalist perspective, but with nuances of difference.  Both view modernity as accelerating toward its inevitable climax.