Eliade on the Sacred and the Profane

Bird 10 Willmann, Michael (1630 - 1706) - Creation of the World (1668)

Michael Willman (1626 – 1679): Creation of the World (1668)

The Romanian born anthropologist Mircea Eliade (1907 – 1986) led a hectic life in his thirties.  Embroiling himself in politics on the right, he became a target even so of right-wing ire on the accusation that his novella Domnișoara Christina (1936) partook in pornography and obscenity, but the very next year he enthusiastically espoused the Iron Guard’s program that Romania should reconcile itself with its Byzantine, and therefore Christian, origins.  No one in the 2020s knows anything about the Iron Guard except, when hearing it mentioned, to categorize it automatically with “fascism.”  Eliade left Romania after the Communist takeover in 1945, migrated to France, and taught in Paris; he migrated to the United States in 1956 and lectured at the University of Chicago and elsewhere on the topic that obsessed him in the second half of his life – the meaning and function of religion, especially of the sacred.  That Eliade had a stake in Romanian Orthodoxy is not contradicted by his opposition to “spiritualism.”  In his twenties, Eliade read the French writer René Guénon (1886 – 1951), and came under his spell.  Guénon also opposed “spiritualism,” by which he indicated the various theosophical banalities descending out of the Nineteenth Century, including Theosophy itself.  Guénon wrote a hefty volume on the fraudulence of Helena Blavatsky’s mystical posturing and the quasi-criminal undertakings of her dubious followers.  Elsewhere Guénon consistently emphasized the radical difference between his own Traditionalism and the somber but hollow tenets of Blavatsky’s Secret Doctrine (1888).  Theosophy belonged to pseudo-initiation and counter-initiation, Guénon argued.  These Guénonian attitudes became Eliade’s own; they inform his work.  With Guénon and Julius Evola (1898 – 1974), Eliade constitutes the stable core of what might be called Twentieth Century skeptical esotericism.

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The Quaintness of the Regia Aeronautica in World War II

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Fascist Poster from 1938 Inviting Young Men to Try Out for the Air Force

Italian participation in World War II started late and ended early.  Italy only entered into combat when the Germans had rolled their Blitzkrieg over France and were conducting the final maneuvers that led to the armistice of 22 June 1940. The members of Benito Mussolini’s Grand Council, with the assent of the king, declared war on their Gaulish neighbors and attacked.  The main action took place in the air with the Regia Aeronautica or Royal Air Force making attacks on French fortifications and airfields.  The bombing and strafing raids were largely ineffective however because while the Italian air arm looked good in propaganda films, it deployed few modern types and of those — few proved themselves efficient in combat.  The obsolescence of Italy’s air-inventory had its roots in Mussolini’s participation in the Spanish Civil War on the side of the Nationalists.  In 1936 the Regia Aeronautica deployed an air arsenal that included up-to-date types, like the Savoia-Marchetti SM.81 trimotor bomber and the Fiat CR.32 biplane fighter.  The latter acquitted itself marvelously against the inferior French and Russian aircraft fielded by the Republicans.  The Cucaracha, as it came to be called, represented the perfection of the biplane interceptor and could also undertake ground-attack and close-support duties.  A Fiat V-twelve with six cylinders in each bank propelled the sleek, streamlined airframe pulled through the air by a two-bladed metal propeller.  The CR.32 had a maximum speed of about 230 miles per hour, fast when Italy introduced the type in the early 1930s.  The Cr.32’s two machine guns stood as adequate for the time.  The SM.81 followed the planform of a Savoia-Marchetti airliner, which meant that it had not begun life as a proposed military type.  Again, SM.81 performed adequately considering the opposition, as it had in the Italo-Abyssinian war of 1935 – 37, against no opposition at all.  Italy sent other types to Spain, including the Breda 65 ground-attack aircraft, which even managed to score a few victories in air combat, a role for which its designers did not intend it.

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Fighting against Sleep: Colin Wilson’s Necessary Doubt as Phenomenological Thriller

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I recalled the last phases of my former life, that darkling climax of pursuit and anger and universal darkness and the whirling green vapors of extinction. The comet had struck the earth and made an end to all things; of that too I was assured.
But afterward? . . .
And now?
The imaginations of my boyhood came back as speculative possibilities. In those days I had believed firmly in the necessary advent of a last day, a great coming out of the sky, trumpetings and fear, the Resurrection, and the Judgment. My roving fancy now suggested to me that this Judgment must have come and passed. That it had passed and in some manner missed me. I was left alone here, in a swept and garnished world (except, of course, for this label of Swindells’) to begin again perhaps…
***********
The miracle of the awakening came to me in solitude, the laughter, and then the tears. Only after some time did I come upon another man. Until I heard his voice calling I did not seem to feel there were any other people in the world. All that seemed past, with all the stresses that were past. I had come out of the individual pit in which my shy egotism had lurked, I had overflowed to all humanity, I had seemed to be all humanity; I had laughed at Swindells as I could have laughed at myself, and this shout that came to me seemed like the coming of an unexpected thought in my own mind. But when it was repeated I answered.
H. G. Wells, In the Year of the Comet (1906)

That the comet’s “green vapors” amount to a Deus ex machina is no reason not to notice the real interest in the passage: The description, which goes on for pages, of the metamorphosis of consciousness that permits the narrator to see the world at last — as if the Blakean “Doors of Perception” had been flung wide.  The narrator has ascended to a new order of existence. He is now a kind of superman, at least where keen-sightedness and self-clarity are concerned.  The state of heightened consciousness is a recurrent motif in Wells’ oeuvre; so is the Nietzschean Übermensch.  In Kipps (1905), the priggish Walsingham, who “had been reading Appearing roughly five years after Ritual in the Dark (1959) and roughly five years before The Philosopher’s Stone (1969), Colin Wilson’s ambitious novel Necessary Doubt (1964) represents its author in the moment when, beginning to appropriate genre formulas (murder mystery, science fiction, espionage novel), he simultaneously began to foreground philosophical themes and to exploit a version of Platonic dialogue for the dramatic exposition of ideas.  Necessary Doubt echoes Ritual in a number of ways, particularly in granting to its point-of-view character the privilege of withholding testimony by which he would cooperate with official charges against an acquaintance other than perfectly innocent.  The protagonist in Necessary Doubt is Professor Karl Zweig, an existential theologian of Austrian origin whom Wilson models in part on Paul Tillich.  Zweig’s relation to the dubious and off-putting Gustav Neumann is somewhat analogous to Gerard Sorme’s relation to Austin Nunn in Ritual although Neumann differs from Nunn in his degree of social pathology (less acute than Nunn’s) and intelligence (higher than Nunn’s).  As for The Philosopher’s Stone, Necessary Doubt anticipates it in the notion that access to intensified consciousness might be mediated by psychotropic drugs or by neurosurgery.  The metallic substance that accomplishes this goal in The Philosopher’s Stone is called the Neumann Alloy, in a direct backwards link to the earlier work, as Nicolas Tredell has noted.[i]

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Bostonians

Bostonians

This post is prompted by a remark made by Kristor under his recent item The Orthosphere Has Begun to SucceedResponding to a commenter, Kristor writes:

Your mention of Massachusetts nails it. The high minded poison in North America has flowed ever from the banks of the Charles River, and it goes back at least as far as Emerson. Or – of much greater relevance these days – to Salem. I say so despite my profound respect for Emerson, and deep as his insights truly were. Ditto for Whitman and Thoreau, and indeed for all the Bostonians. You can’t become as influential as they if you are spouting sheer shouting nonsense.

Henry James wrote a novel called The Bostonians (1886). James saw Boston in much the same ways Kristor sees it. In his novel he explores the genetic relation of feminism, lesbianism, spiritism, and a degraded transcendentalism. Back in 1995 (it seems like forever ago) I published an article in Anthropoetics, one of the first online scholarly journals, on The Bostonians. That article may be accessed here. Camille Paglia once characterized The Bostonians as the only James novel with a truly manly protagonist. Basil Ransom is his name, a Confederate veteran. He visits Boston to see his cousin Olive Chancellor, who has glombed on to a teenage girl, Verena Tarrant, who is a rising star in the Boston séance circuit.  James brilliantly illustrates through his narrative the intimate intermixture of “progressive” politics, the flim-flam of spiritism,  and sexual degeneracy. Olive takes in Verena, obviously wanting to groom her to be her partner in life. I won’t spoil the plot for someone who wants to read the novel, but I indeed recommend reading it.

At one point, Verena is supposed to appear before a crowd in a large auditorium; but she is late. Here is a passage from James:

It had become densely numerous, and, suffused with the evenly distributed gaslight, which fell from a great elevation, and the thick atmosphere that hangs forever in such places, it appeared to pile itself high and to look dimly expectant and formidable. He had a throb of uneasiness at his private purpose of balking it of its entertainment, its victim–a glimpse of the ferocity that lurks in a disappointed mob.

Two Poems – George Sterling & Clark Ashton Smith

Redon 01 Vision (1883)

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.

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

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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.

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An Anthology of Interviews with René Girard

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My 1987 Paroles Gelées interview with René Girard is included in Cynthia L. Haven’s newly issued Conversations with René Girard as Chapter IV, “The Logic of the Undecidable.” Haven writes: “Bertonneau, at that time a doctoral student in the UCLA Program in Comparative Literature, began the interview by invoking what Paul de Man refers to as ‘the Resistance to Theory,’ in an essay of that name.” I meant resistance to Girard’s theory because of its vindication of a Christic anthropology. Haven adds a comment that I made when she contacted me about including the interview in her anthology: “If I experienced any nervousness on the occasion of the interview, Girard immediately put me at ease. I conducted two other interviews for Paroles Gelées. Without mentioning any names, the contrast with Girard could not have been greater. That makes Girard stand out all the more in my memory.” The Kindle edition is only $14.99 at Amazon.

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

Bird 17 Powers, Richard M. (1921 - 1996) - Abstract in Yellow (1960s)

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.

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A Bit More on Amtor – Is Carson of Venus a Paracletic Hero?

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Roy Krenkel (1918 – 1983): Cover Art for the Ace Edition of Escape on Venus

In Burroughs’ Amtor — A Satire of Ideologies, I remarked that in Edgar Rice Burroughs’ Venus series, issued in four books from 1932 to 1944, the reader could discern the author’s theory of ideology or, at any rate, his notion (let us say) of ideology.  I wrote that, for Burroughs, “Ideology pits itself against life as such”; and that, “Every ideology is [in Burroughs’ judgment] a nihilism that, standing against vitality, beckons the moribund.”  The reader will find in the first three Amtor books (Pirates of Venus, Lost on Venus, and Carson of Venus) strong satirical rejections of Communism, Trans-Humanism, Eugenics, and National Socialism —  all four of which strike Burroughs as unjust because they exercise violence to coerce a grotesque and arbitrary conformity.*  In reference to Eugenics, the thesis is somewhat controversial.  Burroughs supported certain aspects of Eugenics, but earlier in his life than the Amtor series, and in Lost on Venus he has his hero, Carson Napier, repudiate the doctrine because a council of eugenicists has condemned his true love, Duare, to death.  Perhaps the association of Eugenics with the Nazis had changed Burroughs’ mind.  Whatever the case, the pattern in the Eugenics plotline corresponds to those in the Communist, Trans-human, and National Socialist plotlines.  It strikes me that Burroughs had seen the inexpugnable malevolence of any Eugenics-based polity and, through his hero, had turned his back on it.  No reference to my notion of the “Paracletic Hero”– which I had treated extensively in Robert E. Howard’s Conan – occurs in Burroughs’ Amtor but I was thinking about it as I wrote.  In brief, a Paracletic Hero is one who in his deeds conspicuously opposes the ancient ritual of sacrifice, on which a particular society founds itself, and seeks to free its pending victims.  Conan, like C. L. Moore’s Northwest Smith, achieves this goal and thereby deserves the appellation.  (See my Monstrous Theologies at The Orthosphere.)

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