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Category: Kenneth Clark

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Christendom Hojas Susurrantes (Whispering Leaves - book) Kenneth Clark Matthias Grünewald Theology

On Erasmus

When I was a boy I heard of Erasmus and imagined that his famous book was about something like praising so-called “mad” people in a world gone mad. Later, still before reading him, I imagined Erasmus was a great humanist who saw the madness of the religious wars of his time.

I was not prepared in the slightest to find out that Erasmus himself was pretty much part of civilizational madness. When in 1996 I hit Kenneth Clark’s page 146 of his illustrated book Civilisation I was moved to purchase the excellent 1993 Penguin edition of Praise of Folly totally unsuspecting of what the contents really were. A few days after I wrote on the book’s inside cover that Erasmus disappointed me; that, contrary to what I had expected, he did not see the folly of his age but was a fool himself.

A.H.T. Levi’s Penguin introduction to Praise of Folly is worth reading, and precisely on page xlii of the long introduction I was shocked to learn that no one in the whole Middle Ages had questioned Christian “truths.” Instead of challenging the accepted wisdom, I found in the introduction to Erasmus’ other works scholastic discussions about whether or not the ancient Greeks and Romans would be saved—from eternal damnation!

Erasmus is truly an alien for the people of our time. The problems he struggled with in his soul—he never considered his Praise of Folly his most important book—are infinitely distant from the problems that overwhelm us today. His worldview is dead except for those who, like me, were tormented by our parents with doctrines of eternal punishment.

Erasmus was the most famous humanist of the so-called “Northern Renaissance,” a man in touch with all leading princes and scholars of the time. Many consider him the central figure of the intellectual world of what, to my mind, was a pseudo-Renaissance (the real intellectual Renaissance would only begin with Montaigne). How could the “Northern Renaissance” be compared to the Italian Renaissance when its most emblematic intellectual, like Thomas à Kempis, was an Augustinian canon that took Pauline folly as a panegyric to Christian piety? Erasmus, who was deeply shocked before the pagan atmosphere of Julius II’s Rome, probably decided to publish Praise of Folly precisely to support the growing opposition to Julius in France. When the art of Michelangelo and Raphael were conquering the soul of Rome, Erasmus went as far as recommending a return to scripture and the so-called “Fathers”: Origen, Ambrose, Jerome and Augustine, and Erasmus’ Greek New Testament was in fact more feared by the Church than his Praise of Folly.

Now that I am talking of Clark’s Civilisation, let us remember the image that Clark chose to depict St Francis: Jacquemart de Hesdin’s The Fool. In Erasmus’ most famous book, women, “admittedly stupid and foolish creatures,” are Folly’s pride. Erasmus takes a surprisingly modern, “liberal” position about the role of women in society. Since Folly praises ignorance and lunacy, Erasmus reasons, women must be instrumental for the Christian cause. In his book Folly is only interested in following the example of Jesus, the exemplar of charitable simplicity against the budding intellectualism of the sixteenth century. The fact that Erasmus took St Paul’s “praise of folly” against the best minds St Paul encountered in Athens speaks for itself and needs no further comment.

It doesn’t take a great intellectual effort to recognize that the so-called Northern Renaissance was set against the real Renaissance of Italy, which had fallen in love with our genuine, Greco-Roman roots. Erasmus et al’s “optimist” discussions around the subject of the predestination of both the elect and the damned represent the medieval mind. How could Erasmus’ work that discusses whether or not a personal God “predestined” some of us to an eternity of torture be called “Renaissance” by any stretch of imagination? It is true that, in Erasmus’ century, the current theology was Pelagian rather than Augustinian, in the sense that we were supposed to be allowed to earn salvation by our own efforts. But this is altogether medieval, not modern, thinking.

To understand Erasmus one must remember the bestsellers of his time. The Pseudo- Gregorian Dialogues, composed in 680 C.E. and translated to all known vernaculars, reinforced in the faithful what priests used to call “a salutary fear of hell.” The book clearly implied that hell was eternal and that the soul, though spiritual, suffered physically from burning. Dante himself drew heavily from the Dialogues “and its influence on popular piety was greater that that of any other single work of piety in the history of western Christendom.”

(Detail of a Grüenwald painting. Grüenwald’s Isenheim Altarpiece painting in the times when Erasmus published his book depicts the spirit of those still dark ages far better than any scholastic treatise.)

Visualize yourself one moment living under the sky of Erasmus’ age. Visualize yourself trapped in the Church dogma and struggling with the terrible discussion about whether the ancient Greeks could possibly be “justified”—a nasty Lutheran word inspired in Augustine—and thus saved from the eternal flames.

For the so-called humanists of Erasmus’ time this dilemma was all too serious theological business, and they rationalized their wishes to save the “pagans” after the recent discoveries of Indian “souls” in America, who had no opportunity to receive the gospel through no fault of their own. That such doctrines represented a slight advance from Augustine’s “pessimism” (cf. Erasmus’ treatise against Luther, On Free Will and Luther’s reply, On Unfree Will) will never refute the fact that Erasmus and his ilk were chained in the trappings of medieval thought.

I was moved to write this article because all westerners, including white nationalists, have forgotten what living under Christendom was like. With the exception of the final section of my Hojas Susurrantes, no contemporary writer that I know—no one—has said something real about the horrors of the infinitely evil doctrine of eternal damnation, and how that fear was so central in Christendom. On the contrary, modern westerners seem to retroproject their own healthy psychoclass and never wonder about the subjective horrors that millions upon millions of whites endured during the Dark Ages as a result of such doctrine.

Categories
Art Civilisation (TV series) Free speech / Free press Kenneth Clark Martin Luther Montaigne Painting Protestantism Reformation William Shakespeare

Civilisation’s “Protest and Communication”

For an introduction to these series, see here.

Below, some indented excerpts of “Protest and Communication,” the sixth chapter of Civilisation by Kenneth Clark, after which I offer my comments.

Ellipsis omitted between unquoted passages:

The dazzling summit of human achievement represented by Michelangelo, Raphael and Leonardo da Vinci lasted for less than twenty years. It was followed (except in Venice) by a time of uneasiness often ending in disaster. For the first time since the great thaw civilised values were questioned and defied, and for some years it looked as if the footholds won by the Renaissance—the discovery of the individual, the belief in human genius, the sense of harmony between man and his surroundings—had been lost. Yet this was an inevitable process, and out of the confusion and brutality of sixteenth-century Europe, man emerged with new faculties and expanded powers of thought and expression.

In this room in the castle of Würzburg are the carvings of Tilman Riemenschneider, one—perhaps the best—of many German carvers in the late Gothic style. The Church was rich in fifteenth-century Germany, and the landowners were rich, and the merchants of the Hanseatic League were rich; and so, from Bergen right down to Bavaria, sculptors were kept busy doing huge, elaborate shrines and altars and monuments like the famous group of St George in the old church at Stockholm: a supreme example of late Gothic craftsman deploying his fancy and his almost irritating skill of hand.

The Riemenschneider figures show very clearly the character of the northern man at the end of the fifteenth century.

First of all, a serious personal piety—a quality quite different from the bland conventional piety that one finds, say, in a Perugino. And then a serious approach to life itself. These men (although of course they were unswerving Catholics) were not to be fobbed off by forms and ceremonies. They believed that there was such a thing as truth, and they wanted to get at it. What they heard from Papal legates, who did a lot of travelling in Germany at this time, did not convince them that there was the same desire for truth in Rome, and they had a rough, raw-boned peasant tenacity of purpose. Many of these earnest men would have heard about the numerous councils that had tried throughout the fifteenth century to reform the organisation of the Church. These grave northern men wanted something more substantial.

So far so good. But these faces reveal a more dangerous characteristic, a vein of hysteria. The fifteenth century had been the century of revivalism—religious movements on the fringe of the Catholic Church. They had, in fact, begun in the late fourteenth century, when the followers of John Huss almost succeeded in wiping out the courtly civilisation of Bohemia. Even in Italy Savonarola had persuaded his hearers to make a bonfire of their so-called vanities, including pictures by Botticelli: a heavy price to pay for religious conviction.

The Germans were much more easily excited. Comparisons are sometimes an over-simplification; but I think it is fair to compare one of the most famous portraits, Dürer’s Oswald Krell, with Raphael’s portrait of a cardinal in the Prado [above]. The cardinal is not only a man of the highest culture but balanced and self-contained. Oswald Krell is on the verge of hysteria.

Those staring eyes, that look of self-conscious introspection, that uneasiness, marvellously conveyed by Dürer through the uneasiness of the planes in the modelling—how German it is.

Four pages later Clark devotes several pages to Erasmus of Rotterdam, whom Bronowski praised even more in The Ascent of Man. I have quoted Clark at length on the German character because I believe that Nietzsche was spot on in blaming Luther and Protestant hysteria for the restoration of Christianity when Christendom was falling apart in the times of the Renaissance popes. But in the next entry I will try to convey some of my antichristian thinking by taking the Catholic Erasmus to task. Meanwhile let’s continue with Clark’s views:

In 1506 Erasmus went to Italy. He was in Bologna at the exact time of Julius II’s famous quarrel with Michelangelo; he was in Rome when Raphael began work on the Papal apartments. But none of this seems to have made any impression on him. His chief interest was in the publication of his works by the famous Venetian printer and pioneer of finely printed popular editions, Aldus Manutius. Whereas in the last chapter I was concerned with the enlargement of man’s spirit through the visual image, in this one I am chiefly concerned with the extension of his mind through the word. And this was made possible by the invention of printing.

Printing, of course, had been invented long before the time of Erasmus. Gutenberg’s Bible was printed in 1455. But the first printed books were large, sumptuous and expensive. It took preachers and persuaders almost thirty years to recognise what a formidable new instrument had come into their hands, just as it took politicians twenty years to recognise the value of television. The first man to take advantage of the printing press was Erasmus. He poured out pamphlets and anthologies and introductions; and so in a few years did everyone who had views on anything.

This should remind us of our own age! Take heed of the elucidating excerpts from a 2009 interview of James Bowery by Jim Giles.

Bowery said: “We are essentially living under a theocracy. I call it Holocaustianity but other people call it political correctness. It’s essentially a canon of morals that have taken over Christianity, and the primary sins of this religion involve ‘racism’ which is an undefined word, and anti-Semitism (sexism is certainly down their list; it is like a venial sin, not a mortal sin). So people have been indoctrinated in this by the media and the academia. The government has passed legislation about these morals to make them violation of law. So people [in the 21st century] are essentially in a medieval mindset, living in a theocracy. It’s just that it is not operating under that name… Right now people are essentially in a State where there cannot be a Protestant Reformation. You can’t have other religions than this State religion of political correctness” (39:40).

And later during the interview Bowery added: “Let me go back to my point about the theocracy, and the dissolution of the theocracy in Europe. The Gutenberg press created a situation in which the monopoly of the Church on the written word was broken. A large portion of what the Church was about was media control. So through the media control they could indoctrinate the populations and maintain, you know, a revenue stream. The Gutenberg press broke that. Now all of a sudden you get lots of other voices. As I said, I have been working in this Internet stuff since the early days” (1:29:42).

And that is altogether crucial for our cause. Bowery concludes: “I knew this time was coming. The Internet is the new Gutenberg press. And the theocracy is being taken apart because its control of the media is being taken apart. And we are getting a new Protestant Reformation and following on the heels of that, people are going to say: ‘Look: We have our own beliefs… This is the way things should be.’ Even the Jesuits just couldn’t stand up to that. I don’t think the Jews can’t either.” (1:31:35).

That’s exactly why Erasmus was so notable, as the nationalist Internet bloggers will be equally notable from the standpoint of a latter-day Clark in the coming ethno-state, once the current theocracy falls apart.

Both Erasmus and Luther were involved in important translations of the Bible that shaked the medieval worldview. Although in the next episode Clark spoke highly about Counterreformation art, after the last indented quotation he said: “Whatever else he may have been, Luther was a hero; and after all the doubts and hesitations of the humanists, and the hovering flight of Erasmus, it is with a real sense of emotional relief that we hear Luther say: ‘Here I stand.’” However, at the same time Clark was also dismayed that the Protestants smashed the colored glasses of beautiful Catholic churches, and that artistic images of the Virgin were decapitated.

But it had to happen if civilisation was not to wither, or petrify. And ultimately a new civilisation was created—but it was a civilisation not of the image, but of the word.

But even the Protestant reaction had to be triumphed over, this time by secularism.

It is refreshing to see, in the closing remarks of the episode, Clark praising Montaigne as “completely sceptical about the Christian religion” and of Shakespeare as “the first great poet without a religious belief.”

Categories
Art Civilisation (TV series) Friedrich Nietzsche Harold Covington Italy Kenneth Clark Michelangelo Painting Philosophy Raphael Real men Turks

Civilisation’s “The Hero as Artist”

For an introduction to these series, see here.

Below, some indented excerpts of “The Hero as Artist,” the fifth chapter of Civilisation by Kenneth Clark, after which I offer my comments.

Ellipsis omitted between unquoted passages:

In the Middle Ages men had been crushed by this [ancient Roman] gigantic scale. They said that these buildings must be the work of demons, or at best they treated them simply as natural phenomena—like mountains—and built their huts in them.

But by 1500 the Romans had begun to realise that they had been built by men. The lively and intelligent individuals who created the Renaissance, bursting with vitality and confidence, were not in a mood to be crushed by antiquity. They meant to absorb it, to equal it, to master it. They were going to produce their own race of giants and heroes.

In what is commonly described as the decadence of the papacy, the Popes were men of unusual ability who used their international contacts, their great civil service and their increasing wealth in the interests of civilisation. Nicholas V, the friend of Alberti and the humanists, was the first man who saw that papal Rome could revive the grandeurs of pagan Rome.

Pius II, a poet, a lover of nature and of beauty in all its forms, yet gave up his life in an attempt to save Christendom from the Turks. Even Sixtus IV, who was as brutal and cunning as he looks in the wall-painting by Melozzo da Forlo, founded the Vatican library and made the great humanist, Platina, its first prefect. Pope Julius II was able by magnanimity and strength of will to inspire and bully three men of genius—Bramante, Michelangelo and Raphael. Without him Michelangelo would not have painted the Sistine Ceiling, nor Raphael decorated the papal apartments, and so we should have been without two of the greatest visible expressions of spiritual power and humanist philosophy.

The above paragraphs remind me what Nietzsche said almost at the end of his Antichrist: that without the Reformation and Counter-Reformation these rather pagan popes would have brought Christianity down. Clark continues:

The old St Peter’s was one of the largest and most ancient churches in the western world, and certainly the most venerable. Julius decided to pull it down and put something far more splendid in its place. The first step in this visible alliance between Christianity and antiquity was taken when Julius decided to pull down the old basilica.

The men of fifteenth-century Florence had looked back eagerly to the civilisation of Greece and Rome. They sought for ancient authors and read them with passion, and wrote to each other in Latin. Their greatest source of pride was to write prose like Cicero. But the man who really assimilated antique art and recreated it, with all its expressive power made more vital and more intense, was Michelangelo.

Seen by itself the David’s body might be some unusually taut and vivid work of antiquity; it is only when we come to the head that we are aware of a spiritual force that the ancient world never knew. I suppose that this quality, which I may call heroic, is not part of most people’s idea of civilisation. It involves a contempt for convenience and a sacrifice of all those pleasures that contribute to what we call civilised life. It is the enemy of happiness.

And this of course can only remind me of Harold Covington’s extreme contempt for those so-called “nationalists” who watch TV while eating so tasty Nachos that only grow their bellies; always reluctant to come home and fight for the creation of a new nation. Clark continues:

And yet we recognise that to despise material obstacles, and even to defy the blind forces of fate, is man’s supreme achievement; and since, in the end, civilisation depends of man extending his powers of mind and spirit to the utmost, we must reckon the emergence of Michelangelo as one of the great events in the history of western man.

[His drawing of Battle of Cascina] was the first authoritative statement that the human body—that body which, in Gothic times, had been the subject of shame and concealment, that body which Alberti has praised so extravagantly—could be made the means of expressing noble sentiments, life-giving energy and God-like perfection. It was an idea that was to have an incalculable influence on the human mind for four hundred years.

And this brings us back to Rome, and to the terrible Pope. Julius II was not only ambitious for the Catholic Church: he was ambitious for Julius II, and in his new temple he planned to erect the greatest tomb of any ruler since the time of Hadrian. It was a staggering example of superbia; and Michelangelo at that time was not without the same characteristic. I need not go into the question of why the tomb was never built. There was a quarrel—heroes do not easily tolerate the company of other heroes. Nor does it matter to us what the tomb was going to look like. All that matters is that some of the figures made for it survive, and they add something new to the European spirit—something that neither antiquity nor the great civilisations of India and China had ever dreamed of. As a matter of fact the two most finished of them were derived from antiques, but Michelangelo has turned them from athletes to captives, one of them struggling to be free—freedom from mortality?—and the other sensuously resigned.

People sometimes wonder why the Renaissance Italians, with their intelligent curiosity, didn’t make more of a contribution to the history of thought. The reason is that the most profound thought of the time was not expressed in words, but in visual imagery.

For centuries writers on Michelangelo have criticised Julius for taking him off the tomb, on which he had set his heart, and putting him to work on the painting of the Sistine Ceiling, although he always said he hated the act of painting.

Michelangelo’s power of prophetic insight gives one the feeling that he belongs to every epoch, and most of all, perhaps, to the epoch of the great Romantics, of which we are still the most bankrupt heirs. It is the attribute that distinguishes him most sharply from his brilliant rival, Raphael. Michelangelo took no interest in the opposite sex; Leonardo thought of women solely as reproductive mechanisms. But Raphael loved girls as much as any Venetian.

The convention by which great events in biblical or secular history could be enacted only by magnificent physical specimens, handsome and well-groomed, went on for a long time—till the middle of the nineteenth century. Only a very few artists—perhaps only Rembrandt and Caravaggio in the first rank—were independent enough to stand against it. And I think that this convention, which was an element in the so-called grand manner, became a deadening influence on the European mind. It deadened our sense of truth, even our sense of moral responsibility; and led, as we now see, to a hideous reaction.

Categories
Arcadia Architecture Art Arthur C. Clarke Beauty Civilisation (TV series) Degeneracy Italy Kenneth Clark Painting Raphael

Civilisation’s “Man—the Measure of all Things”

For an introduction to these series, see here.

Below, some indented excerpts of “Man—the Measure of all Things,” the fourth chapter of Civilisation by Kenneth Clark, after which I offer my comments.

Ellipsis omitted between unquoted passages:

The Pazzi Chapel, built by the great Florentine Brunellesco in about 1430, is in a style that has been called the architecture of humanism. His friend and fellow-architect, Leon Battista Alberti, addressed man in these words: ‘To you is given a body more graceful than other animals.’

There is no better instance of how a burst of civilisation depends on confidence than the Florentine state of mind in the early fifteenth century. For fifty years the fortunes of the republic, which in a material sense had declined, were directed by a group of the most intelligent individuals who have ever been elected to power by a democratic government. From Salutati onwards the Florentine chancellors were scholars, believers in the studia humanitatis, in which learning could be used to achieve a happy life.

In Florence the first thirty years of the fifteenth century were the heroic age of scholarship when new texts were discovered and old texts edited. It was to house these precious texts, any one of which might contain some new revelation that might alter the course of human thought, that Cosimo de Medici built the library of San Marco. It looks to us peaceful and remote—but the first studies that took place there were not remote from life at all. It was the humanist equivalent of the Cavendish Laboratory. The manuscripts unpacked and studied under these harmonious vaults could alter the course of history with an explosion, not of matter, but of mind.

The discipline of trade and banking, in its most austere form, was beginning to be relaxed, and life—a full use of the human faculties—became more important than making money.

The dignity of man. Today these words die on our lips. But in the fifteenth century Florence their meaning was still a fresh and invigorating belief. Gianozzo Manetti, a humanist man of affection, who had seen the seamy side of politics, nevertheless wrote a book entitled On the Dignity and Excellence of Man. And this is the concept that Brunellesco’s friends were making visible.

Gravitas, the heavy tread of moral earnestness, becomes a bore if it is not accompanied by the light step of intelligence. Next to the Pazzi Chapel are the cloisters of Santa Croce, also built by Brunellesco. I said that the Gothic cathedrals were hymns to the divine light. These cloisters happily celebrate the light of human intelligence, and sitting in them I find it quite easy to believe in man. They have the qualities that give distinction to a mathematical theorem: clarity, economy, elegance.

Alberti, in his great book on building, describes the necessity of a public square ‘where young men may be diverted from the mischievousness and folly natural to their age.’ The early Florentine Renaissance was an urban culture, bourgeois properly so-called. Men spent their time in the streets and squares, and in the shops.

Elsewhere I’ve talked about how the modern world of money is inimical to racial interests. As to date, no white nationalist that I know has criticized the barbarous architecture, symptomatic in the worshiping of the new god of capitalism, so well epitomized in both London and New York: the subject of the last episode of Civilisation.

Together with the degenerate music, TV and Hollywood tastes and sexual lifestyles of some nationalists, architecture is another facet where the uncorrupted individual can read the signs of a decadent society; and why he cannot blame non-gentiles for all our problems when even the nationalists themselves are part of this problem.

Remember Clark’s words in the first episode? “If I had to say which was telling the truth about society, a speech by a Minister of Housing or the actual buildings put up in his time, I should believe the buildings.” One only has to contrast the completely soulless edifices we see everyday going to work with Raphael’s town square and see how extremely degraded, Mammonesque in fact our large cities have become.

In the popular imagination, the extreme examples of this degeneracy are the Foundation novels of Asimov and the latest Star Wars films, where a whole planet has become metropolis: the exact opposite of the most humane sci-fi novels by Arthur C. Clarke where, like the Florentines, the white people lived in small Elysian towns. Architecture today is so degenerate that even Roger Scruton in Why Beauty Matters—a 2009 BBC documentary that, unlike Clark’s Civilisation, is marred by the constant presence of non-whites—pays special attention to the sterile architectural forms of today’s world.

I wish young nationalists became believers in the studia humanitatis and familiarise themselves with those intellectuals in the movement that (like Clark) have a much broader sense of European culture than the common white nationalist blogger. I refer to people like Tom Sunic in Europe and Michael O’Meara in America. Both could help us to leave behind the provincial scene so common in the nationalist sphere as well as the simplistic single-cause hypothesis.

It is true that, unlike the Athenians, fifteenth century Florentines were chiefly interested, like contemporary western man, in making money. But like the Athenians the Florentines… loved beauty. Of the landscapes whose beauty mostly caught my attention during a trip through Europe by train, I still remember the Italian, about which Clark said:

Looking at the Tuscan landscape with its terraces of vines and olives and the dark vertical accents of the cypresses, one has the impression of timeless order. There must have been a time when it was all forest and swamp—shapeless, formless; and to bring order out of chaos is a process of civilisation.

Then, in the first years of the sixteenth century, the Venetian painter Giorgione transformed this happy contact with nature into something openly sensual. The ladies who, in the Gothic gardens, had been protected by voluminous draperies, are now naked; and, as a result, his Fête Champêtre opens a new chapter in European art. Giorgione was, indeed, one of the inspired, unpredictable innovators who disturb the course of history; and in this picture he has illustrated one of the comforting illusions of civilised man, the myth of Arcadia, which had been popularised some twenty years earlier by the poet Sannazaro. Of course, it is only a myth. Country life isn’t at all like this, and even on a picnic ants attack the sandwiches and wasps buzz round the wine glasses. But the pastoral fallacy had inspired Theocritus and Virgil, and had not been unknown in the Middle Ages. Giorgione has seen how fundamentally pagan it is.

True, but I don’t believe that the pastoral fallacy is childish. Pace Arthur Clarke, achieving Arcadia is an essentially psychogenic endeavour rather than a technological one. And I sincerely believe that utopia is feasible: only human primitivism, and especially the “monsters from the Id” currently affecting the white peoples, prevent it.

It has long seemed to me wise thinking about an ideal to direct our efforts toward it. It doesn’t matter if the ideal encounters numerous pitfalls: our will should incessantly be directional toward the worlds of the Florentine Fête. If the will of a sufficiently massive amount of white people is noble, the outside world can and will only represent the nobility of that will. Clark said:

With Giorgione’s picnic the balance and enjoyment of our human faculties seems to achieve perfection. But in history all points of supposed perfection have a hint of menace; and Giorgione himself discovers it in that mysterious picture known as the Tempesta.

What on earth is going on? What is the meaning of this half-naked woman suckling a baby, this flash of lightening, this broken column? Nobody knows; nobody has ever known.

To me the meaning is obvious. Even since the Renaissance artists started to see that the cities, more inclined to Mammon than to Raphael’s square, were places of tribulation in contrast to the madonna and her child with the man standing in contrapposto. Broken pillars often symbolize death (that bucolic world was about to die), and the painting’s storm in the background could be interpreted to symbolize urban turmoil.

Categories
Ancient Greece Ancient Rome Art Beauty Charlemagne Civilisation (TV series) Degeneracy Europe France Harold Covington Islamization of Europe Kali Yuga Kenneth Clark Literature Mainstream media Philosophy of history

Civilisation’s “The Skin of our Teeth”

For an introduction to these series, see here.

Below, some indented excerpts of “The Skin of our Teeth,” the first chapter of Civilisation by Kenneth Clark, after which I offer my comments.

Ellipsis omitted between unquoted passages:


I am standing on the Pont des Arts in Paris.

What is civilisation? I don’t know. I can’t define it in abstract terms—yet. But I think I can recognize it when I see it; and I am looking at it now.

If I had to say which was telling the truth about society, a speech by a Minister of Housing or the actual buildings put up in his time, I should believe the buildings. But this doesn’t mean that the history of civilisation is the history of art—far from it. Great works of art can be produced in barbarous societies.

Whatever its merits as a work of art, I don’t think that there is any doubt that the Apollo embodies a higher state of civilisation than the mask. They both represent spirits, messengers from another world—that is to say, from a world of our own imagining. To the Negro imagination it is a world of fear and darkness, ready to inflict horrible punishment for the smallest infringement of taboo. To the Hellenistic imagination it is a world of light and confidence, in which the gods are like ourselves, only more beautiful.

It is not my intention to insult white nationalists. But what they ignore is that, presently, with their rock music and media tastes they themselves, like the overwhelming majority of the white population are, spiritually, far closer to the Negro mask than to the Apollo of Belvedere. For Lord Clark it would have been unthinkable to consider civilised the popular forms of cultural expression such as heavy metal and the movies that today are watched even by white nationalists throughout the West.

As we saw in some of my latest entries, other self-destructing forms of cultural expression already occurred in the times of the fall of the Roman Empire. Clark said:

The same architectural language, the same imagery, the same theatres, the same temples—at any time for five hundred years you could have found them all round the Mediterranean, in Greece, Italy, France.

What happened? It took Gibbon six volumes to describe the decline and fall of the Roman Empire, so I shan’t embark on that. But thinking about this almost incredible episode does tell one something about the nature of civilisation. It shows that however complex and solid it seems, it is actually quite fragile. It can be destroyed. What are its enemies? Well, first of all fear—fear of the supernatural, which means that you daren’t question anything or change anything. The late antique world was full of meaningless rituals, mystery religions, that destroyed self-confidence.

Unlike Gibbon and Nietzsche, before his TV audience Clark didn’t dare to point the finger at Christianity. But later in the program, Clark spoke about Islam:

In a miraculously short time—about fifty years—the classical world was overrun [by the Muslim conquests]. Only its bleached bones stood out against the Mediterranean sky. The old source of civilisation was sealed off, and if a new civilisation was to be born it would have to face the Atlantic.

But something very odd happened to Man’s self-image in the early medieval world facing the Atlantic in what today is Ireland. According to Clark:

The subject of Mediterranean man was man. Two hundred years have passed—perhaps a little more—and man has almost vanished.

Crude as this imago hominis may be when compared to the Apollo, presently some white nationalists advertise their blogs with soft-porn pics of semi-nude women: something far more degrading for the divine human figure than the image of 8th century insular art in the Echternach Gospels.

To my mind—and, like Clark, I must say that this is only my personal view­—, the imago hominis only means a psychogenic regression in Man’s understanding of himself compared to the Greeks and the Romans. However, the white nationalists’ soft porn spits on the avatar of God, even if I don’t believe in the existence of a personal god.

After the above image chosen by Clark for the first episode of his program, in the following pages of the book version Clark mentions how St. Gregory destroyed entire libraries of the classical world (I quoted part of it in my recent antichristian series, here), and on the next page he states that even in those obscure days the Europeans fought strenuously against their enemies:

All great civilisations, in their early stages, are based on success in war. The Romans were the best organised and most ruthless fighters in Latium. So it was with the Franks. Clovis and his successors not only conquered their enemies, but maintained themselves by cruelties and tortures remarkable even by the standards of the last thirty years.

Without Charles Martel’s victory over the Moors at Poitiers in 732, western civilisation might never have existed, and without Charlemagne’s tireless campaigns we should never have had the notion of a united Europe.

Charlemagne was the first great man of action to emerge from the darkness since the collapse of the Roman world. The old idea that he saved civilisation isn’t far wrong. On the whole, our whole knowledge of ancient literature is due to the collecting and copying that began under Charlemagne.

If we compared ourselves with the franks, what could it be said about present-day nationalists? Many of them don’t even let our most serious fighter discuss in their forums (by “serious fighter” I mean someone who’s actively planning a revolution). Didn’t the Führer say that those who want to live, let them fight, and that those who do not want to fight in this world of eternal struggle do not deserve to live? Do whites and white nationalists deserve to live? If so, where are the Charles Martels in today’s islamized Europe, in America’s mexicanized states?

I am not proposing to do something stupid in a world which media is a hundred percent dominated by the Enemy. But at least be prepared for the tough, revolutionary times that are coming after the dollar crashes.

Categories
Art Civilisation (TV series) Degeneracy Kali Yuga Kenneth Clark

Kenneth Clark’s “Civilisation”

The evil that has possessed Western civilization—or perhaps should I write the word with “s,” as the British do: civilisation?—after the Second World War is far more extended than what most white nationalists suspect, even in their wildest dreams. This evil even encompasses many aspects of our culture that white nationalists actively embrace: pop music, degenerate sexual mores, a Christianity taken to its logical conclusion through liberalism, and much, much more.

In the next entries I will try to argue this case through my comments to excerpts of Civilisation: A Personal View by Kenneth Clark (1903–1983), a television documentary series outlining the history of Western art, architecture and philosophy since the Dark Ages.

The series was produced by the BBC and aired in 1969. Both the television material and an accompanying book—a book that, incidentally, I purchased in Houston at the ridiculous price of 50¢ during a garage sell—were written by Clark (photo above), who also presented the series.

The series is considered to be a landmark in British Television’s broadcasting of the visual arts, and was remastered and last year re-broadcasted in the United Kingdom.

Clark’s series inspired both Jacob Bronowski and Carl Sagan to write scripts for their respective personal views, also in thirteen programs of television documentary series, as I said in my last post. However, unlike Bronowski and Sagan I definitively reject the naïve idea that science can save our civilization. I agree with Clark that, in this age of “heroic materialism” or worshiping of Mammon as he put it, we must review our classics to understand us (or as I would say, to understand the West’s darkest hour: a mechanized, dehumanized and soulless age).

Only a revival of the white people’s soul, not of science and technology, will save us.

Categories
Amerindians Aztecs Civilisation (TV series) Deranged altruism Holocaust Holodomor Kenneth Clark Liberalism Sexual degeneracy Universalism

Revisiting Carl Sagan

How frustrating! I’ve finished the reading of my marked paragraphs of both Jacob Bronowski’s The Ascent of Man and Carl Sagan’s Cosmos, both of which I had read in the 1990s. But when I tried to use my English copy of Cosmos to write this very entry (I reread my Spanish copy) I found that it’s no longer in my library. I have no choice but to use my translated copy of Cosmos and paraphrase back to English what Sagan wrote.

But first I must say that, before I became conscious of the West’s darkest hour, both popularizers of science, Bronowski (1908-1974) and Sagan (1934-1996), were my heroes. Although they are not my heroes anymore, I still believe that the TV series and the accompanying books of The Ascent of Man and Cosmos are must viewing and reading, but only for the Jew-wise adults with ethnic values firmly established. So here we go.

Bronowski was obviously Jewish. But I discovered today, in Wikipedia’s article of Carl Sagan, that Sagan was born in Brooklyn to a Ukrainian Jewish family!

Yesterday, and I mean before today’s discovery, when I finished the rereading of the printed version of both Cosmos and The Ascent of Man it surprised me that, for white people’s interests, some of Sagan’s personal views were even more noxious than Bronowski’s famous little speech at Auschwitz.

Kenneth Clark shows us that demoralizing a people is crucial for the eventual twilight of their civilization. In one of the thirteen programs Bronowski made a dramatic scene in Auschwitz, but only to defend his people: something very human that I can understand. In The Ascent of Man Bronowski didn’t mention what the Jews had done at the Holodomor, where more innocent people were killed than in Auschwitz. This omission is easily explainable taking into account that Bronowski’s main concern was what was good for the Jews. But in my opinion what Sagan wrote in Cosmos demoralize the white peoples in a more toxic, albeit subtle way.

For those who, like me, have reviewed the Spanish chroniclers of the 16th century together with the evidence provided by anthropology, it’s all too clear that the Aztecs were a society composed of serial killers. They even sacrificed and cannibalized their own children—see the chapter of my book Day of Wrath demonstrates the veracity this claim. Conversely, in chapter 12 of Cosmos Sagan painted a completely Manichean view about the Conquest of Mexico, praising the Aztecs for their amazing knowledge of astronomy and depicting the Spanish as brutal conquerors. Even worse: Sagan used the Conquest of Mexico as a paradigm of what the future conquest of space ought never be. Of course, Sagan omitted any mention of the extremely dark side of the Aztec culture.

But even worse for the white people’s self-confidence were Sagan’s pronouncements in the thirteenth, final chapter of Cosmos, “Who speaks for Earth?” I refer to the book, not to the TV series. Sagan almost puts sexual repression of our children in the same category of the crimes against humanity. (Again, it’s a pity that I only have the Spanish translation, even though it’s a deluxe, 20 x 25 cm. book.) He actually says that premarital sex for our adult children is healthy because it prevents society from becoming violent! (See the opposite axiological approach in a William Ventvogelp piece that I rebaptized as “Lycanthropy”.)

But the most offensive passage of the book version of Cosmos is that, when Sagan dared to mention diverse cultures and ethnic groups, he immediately said that we must amplify our sense of loyalty—and include all humanity in it! And Sagan added that rich nations are obliged to share their wealth with the poor ones! (I ignore the page number of these outrageous sentences in the English version, but in the Spanish translation it appears on pages 338-339.)

It is quite interesting to compare both Bronowski’s and Sagan’s TV series and books with Kenneth Clark’s Civilisation, which I’ll assess in the next entries. Civilisation, aired in 1969 at the United Kingdom, was the mother series of both The Ascent of Man and Cosmos. Interesting, I say, because unlike Bronowski and Sagan, Lord Clark had no Jewish ancestry.

Categories
Ancient Rome Art Christendom Civilisation (TV series) Constantine Destruction of Greco-Roman world Free speech / Free press Kenneth Clark Kriminalgeschichte des Christentums (books) Zeus

The fall of Rome

“But the advances made by Jewish theology were more dangerous than the disorder of the streets and the robber.”

—Theodor Mommsen, in Provinces of the
Roman Empire, from Caesar to Diocletian


1.

Constantine the Great, also Saint Constantine (Emperor from 306 to 337 C.E.) has been described as a monster even for the standards of the ancient world. Catholic historian Paul Johnson wrote about him: “Constantine had no respect for human life, and as emperor he executed his eldest son, his own second wife, his favorite sister’s husband.”

The Roman Emperor inaugurated the Christianization of public life. He sanctioned with death penalty, instead of the traditional exile, those who published anonymous libels. His dispositions for death penalty were extremely severe, and I would like to know if it is true what I have read in a book: that under Constantine tortures such as pouring molten lead into the mouths of some women who had violated certain laws accompanied death penalty.

In 330 Constantine condemned the Neoplatonic School. Sopater of Apamea, a distinguished Neoplatonist philosopher was one of many who were put to death by Constantine.

Under Constantine’s reign pagans were referred to as “foolish,” “people without morals,” and their religion “a hotbed of discord,” “a fatal error,” “empire of darkness,” and “madness that has ruined whole nations.” However, while Julian said that Constantine was a “destroyer of ancient and venerable constitutions,” throughout the centuries Constantine has been much praised by Christian apologists.

Constantine was the first Roman Emperor who ordered the destruction of the intellectual work of Porphyry, the best mind of his age, whose work I briefly discussed in a recent entry. During his campaign of looting of the sculptures and shrines, Constantine did not even respect the famous tripods for the pythia of the sanctuary of Apollo at Delphi. The historian Kornemann notes that this was “a larceny of works of art never seen in Greece before.”

After Constantine’s death, his sons Constans and Constantius shared the empire of their father for some time, and only aggravated the all-out, state-sponsored assault on the Hellenic culture.

Under Constans the first destructions, not only loots, of the temples themselves were perpetrated, albeit sporadically. Under Constantius, who appears well described in Gore Vidal’s novel, the most fanatic Christians attacked the altars and temples. The deacon Cyril of Heliopolis, for example, became famous with his actions. The Arethusa in Syria, the priest Marco demolished an ancient shrine. At Caesarea in Cappadocia, the Christian community razed a temple of Zeus, the patron of the city, and another of Apollo.

Under the reigns of both Constantius and Constans, Firmicus Maternus preached the looting: “Out of all pagan temples ornaments! The mint and the crucible with the metal of the idolatrous statues, melt them in the heat of the flames!” In one of his pamphlets Firmicus incited extermination of the pagan cults, including those of Dionysus-Bacchus and Aphrodite.

But most of the temples of the classical world were still upright. The Christian agitator declaimed: “Take away without fear the ornaments of the temples! Melt the figures of gods and coin your money! The Lord has called to the task of annihilate all temples!” Always invoking the god of the Jews, this Sicilian lawyer from upper nobility claimed being an heir of biblical hecatombs as no Christian had done before.

In a subsequent post we shall see what happened to our civilization after this war of cultural extermination inspired by the cult that repudiated the Greco-Roman Gods, and adored instead the zealous, “no other gods before me” god of the Jews.

(Source: Kriminalgeschichte des Christentums, Vol. I, 1986, by Karlheinz Deschner)

2.

“In discussing Barbarism and Christianity I have actually been discussing the Fall of Rome.”

—Edward Gibbon

All Roman emperors after Julian would be Christians. Theodosius “the Great” and the subsequent emperors only completed the destruction of the Greco-Roman spirit that had started with Constantine and his sons. Not only the magnificent temples of worship of antiquity were destroyed almost everywhere, irreplaceable buildings of artistic value that transmitted like nothing else the soul of Hellenic culture, but even until the tenth century the fanatical worshipers of the god of the Jews continued smashing the statues that depicted the divinity of Man like no other art before.

But the most tremendous destruction occurred in the field of education. From the time of St. Paul at Ephesus, church censorship was devoted to the burning of books. After Julian the flourishing book trade disappeared in antiquity, whilst the activity of the monasteries was purely receptive. In the universities the hypertrophy of Aristotelianism aborted any possibility of independent research. In the Middle Ages what I call “real history” was completely unknown, and the sciences were drowned.

With this knowledge I venture to answer a question that has perplexed historians since the Enlightenment: What caused the fall of Rome?

German professor Alexander Demandt published a collection of two hundred theories on why Rome fell. Everything has been postulated—from lead poisoning and environmental degradation to Toynbee and many others’ diverse economic explanations—except the most obvious explanation. The simple truth is that the spirit of an alien, Semitic god undermined the soul of Classical Antiquity. After all, Gibbon himself assigned a major portion of the responsibility for the loss of civic virtue in Rome, and the ensuing decay of the Roman Empire, to the influence of Christianity. I would go further and claim that those unfamiliar with this work, which remains a literary landmark, lack the framework to understand why the Jew-god worshipers and their secular offspring are responsible for the ongoing Fall of the West. (Yes: I am blaming the Christians and the secular Christians who tolerate the Jews far more than I blame the Jews themselves.)

It is true that Rome’s eastern half survived almost a thousand years, until the Muslim conquests. But it was already a thoroughly petrogenic culture under the Medusan spell of Christian dogma. In fact, with its mongrelized citizens the population looked very different from the Latin Rome of the Republic.

3.

“The Skin of our Teeth” was the very first chapter of Kenneth Clark’s 1969 Civilisation. About the loss of historical consciousness, in the first chapter of Civilisation, Clark said:

Civilized man, or so it seems to me, must feel that he belongs somewhere in space and time; that he consciously looks forward and looks back. And for this purpose it is a great convenience to be able to read and write.

For over five hundred years this achievement was rare in Western Europe. It is a shock to realise that during all this time practically no lay person, from kings and emperors downwards, could read or write.

St. Gregory, who looks so intensely devoted to scholarship on a tenth century ivory, is credited with having destroyed many volumes of classical literature, even whole libraries, lest they seduced men’s minds away from the study of holy writ. And in this he was certainly not alone. What with prejudice and destruction, it’s surprising that the literature of pre-Christian antiquity was preserved at all. And in fact it only just squeaked through. In so far as we are the heirs of Greece and Rome, we got through by the skin of our teeth.

(Page 17 of the printed, Harper & Row book.)