Saturday, February 29, 2020

A method in mystery




“Mysterier, ordnar och hemliga sällskap i skilda tider och religioner” is the surprisingly boring title of a Swedish book written by Andrejs Johansons, a Latvian-Swedish scholar of religion. The book was published posthumously in 1985. It comes with a preface by Ulf Drobin (who was actually one of my teachers when I studied comparative religion 15 years later). In translation, the title means “Mysteries, orders and secret societies in different times and religions”. The contents are somewhat eclectic, but also fascinating (and frequently bizarre). A problem might be that it was published so long ago – theories and interpretations change in anthropology and comparative religion, just as everywhere else. The book is presumably intended for a broader non-scholarly audience.

Johansons describes a wide variety of secret societies from around the world. The West African Leopard Society, the Kenyan Mau-Mau, Indo-European Männerbund and berserks, the Attis cult (which included self-castration), the Thugs, the Assassins, the endo-cannibalistic rituals of the Kwakiutl and various ecstatic cults of Dionysus in ancient Greece have all been included in this ethnographic survey of human insanity, folly, depravity and rank barbarism. Or is it divine frenzy? I got even less respect for “the noble savage” after reading this. What *is* the problem with high modernity or the Axial Age, anyway? 

More civilized religions described in the book include the Eleusinian mysteries, the Greco-Roman cult of Isis, and Orphism. I felt particularly close to home with the latter. Surprisingly, or perhaps not, Johansons have included chapters on medieval guilds and early modern Freemasons. There is no discussion on Christian esotericism, but Johansons does mention parallels (or supposed parallels – it´s an old book) between Mithraism and Christianity. They are yuge if true…

Despite their stunning diversity, Johansons argues that many initiatory orders around the world have certain features in common. One is the motif of (symbolic) death and rebirth, often connected to sacred meals. Here, the parallel to Christianity is obvious. To Johansons, the motif might as well be as old as humanity itself. Another is ordeals, although they seem to get (at least relatively speaking) less severe the closer we get to our own time. Note again that Jesus had to suffer ordeals before dying and resurrecting! Johansons does believe that actual spiritual experiences were induced in the participants, but refrains from discussing their ontological status. A more disturbing similarity between some cultures is the existence of “wolf-men” forming a militaristic Männerbund, often living at the outskirts of established society and preying on the civilian population. The Viking berserks are the most well-known example in northern Europe. Johansons gives several examples of how such fraternities have degenerated into terrorists or brigands. In Africa, the Leopard Society was smashed to a large extent by competing secret societies!

It´s intriguing that there should be a certain method in mystery...

One central point in the author´s argument is that virtually all “secular” fraternities – be they military, economic or political – have their origins in cultic brotherhoods. Frequently, they still have a religious base. Since the book is popularized, Johansons never explains his theory in more detail. What does it mean to suggest that religious cults were somehow “prior” to military, economic and political organizations? Are humans at bottom religious animals? (Maybe the gods are real?) Or does it simply mean that our material interests for whatever reason are “alienated” and distorted, being expressed in a religious garb?

I did get one insight, for all it´s worth, while reading the book. Johansons points out that medieval guilds, including powerful merchant guilds such as the Hansa, had initiation rituals featuring ordeals. The stone-masons had secret recognition signs, and many guilds had fictitious founder myths which the members were supposed to learn (perhaps as another sign of recognition). Thus, the stone-masons claimed that Moses was the first of their trade! What this means, of course, is that we can lay all conspiracy theories about the Knights Templar to rest. The fact that the Templars might have had secret initiation rituals and “heretical” lore (“heretical” to the heresy-hunters of later centuries) doesn´t prove that they were a truly occult-heretical brotherhood. Their practices seem to have been medieval Catholic commonplaces!

What a pity.

If you know Swedish and can find this book in your library, perhaps recommended.

Different this time?



Not sure how to relate to this, so I´m just going to put it up here...


Meanwhile, down at the swan lake...



A really nice painting of swans and a dog, posted here for no particular reason whatsoever. Oh, and the child in the middle is apparently a very young Philippe Égalité. 

The last warning



It´s time for regime change. We only fail once, Erdogan. The next coup attempt will succeed. Ergenekon will rise from the bottom of Aralkum, restore greatness of true Altaic peoples. This is the last warning!

Thursday, February 27, 2020

The art and paradox of William Morris




“William Morris: Artist, Craftsman, Pioneer” is a book by Rosalind Ormiston and Nicholas Michael Wells. It´s intended as an introduction to the art and ideas of William Morris (1834-1896). The volume is lavishly illustrated with Morris´ varied artworks, all in color, and is published in coffee table format. The British polymath Morris was painter, poet, designer of wall-papers and carpets, typographer, utopist and political activist all in one.

William Morris cooperated with the painters of the so-called Pre-Raphaelite Brotherhood, including Edward Burn-Jones and Dante Gabriel Rossetti. Unfortunately, Morris also competed with Rossetti – both had the same love interest and purported muse, Jane Burden, who was also the foremost Pre-Raphaelite model. Other influences on Morris came from the traditionalist High Tory and art critic John Ruskin. Morris and his future associates were originally close to Anglo-Catholicism and wanted to become clergymen. Later in life, Morris became a socialist and joined the Social Democratic Federation and – following a split - the Socialist League. The book claims that Morris shortly before his death was offered to become chair of the Labour Party, which would be sensational, since the party didn´t even exist at the time. Perhaps this is a reference to the Independent Labour Party? (The authors also claim that Morris designed some upper-class cabins onboard the “Titanic”, but the ill-reputed ship wasn´t built until years after Morris´ death!)

Despite Morris´ nominal switch from “conservatism” to “socialism”, his fundamental ideas seem to have been pretty much the same throughout. Morris romanticized the Middle Ages, supposedly a period when society, work and art were “natural”. He wanted a pastoral, decentralized society with handicraft-based production. In Morris´ view, traditional handicrafts didn´t alienate the producer from the finished product, while promoting professionalism. By contrast, modern mass production was alienating, impoverished the workers and destroyed the environment, while also making shoddy products. Morris had a profoundly moral view of art, and somehow believed that a moral art could lead to a moral society. Even as a socialist, Morris continued to promote medieval romanticism, for instance in his utopian novel “News from Nowhere”. Some of his ideas were paradoxical. Thus, while opposing mass production, he nevertheless believed that art must be relevant for the people, have utility and a connection to everyday life, while also reflecting Nature. In real life, the dreamy socialist Morris was a successful capitalist, selling most of his art to the super-rich. They were the only people who could afford his works! Without mass production, Morris couldn´t really reach the common people with his arts and crafts… Morris became part and parcel of the “Victorian” age and culture he so despised. He even took a royal commission to redecorate the Throne Room and the Wellington Room in St James´ Palace!

I admit that I don´t vibrate with William Morris and his medievalist and nature romanticism. Veneration of “Nature” is itself a modern phenomenon, since only modern man (really dependent on industry and trade to survive) can view himself as radically different from it, while simultaneously also idealize it. Somehow, I doubt that ancient slaves, serfs or plague victims (or even artisans) idealized Nature, but sure, I suppose I could be wrong there. In modern society, nature romanticism is the preserve of the rich and the privileged (or their counter-cultural drop-outs). It was Marie Antoinette who pretended to be a shepherdess in a gigantic pastoral, while the actual shepherdesses presumably starved to death. Morris was right to support the emerging labor movement, warts and all, but his socialism remained a petty-bourgeois utopia.

The best part of the book are the photos, all in color, of Morris´ art. Yes, many of his wall-paper designs have been included! It was interesting to note that Morris found his inspiration in a wide variety of sources, including books on India! Some Pre-Raphaelite works have been included for reference, and some who were co-produced by Morris, Burne-Jones and John Henry Dearle. (My favorite is, ironically, “Angeli Ministrantes” by the two latter.)

Recommended for your coffee table, and much cheaper than the finely crafted originals…

Come and see the leiothrix

Leiothrix, a bird from Himalaya introduced at Réunion?!


“Birds of the Indian Ocean Islands” is a field guide written by Ian Sinclair and Olivier Langrand, with illustrations by Norman Arlott, Hilary Burn, Peter Hagman and Ian Lewington. First published in 1998, this is the fully revised 2013 edition. Sinclair is apparently the grand old man of African field birding, and have written over 20 books. Langrand is a French conservationist. The book is sponsored by the hardware business Chamberlain and is devoted to conservation efforts.

The area covered by the field guide includes Madagascar, the Mascarenes (i.e. Mauritius, Rodrigues and Réunion), the Comoros and the Seychelles. In other words, the island-nations and colonies off the east coast of Africa. It also covers seabirds from the same general area. 502 species are included, all illustrated in color. Illustrations, species presentations and range maps are on facing pages, making the guide easy to use. It reminds me of Heinzel-Fitter-Parslow.

The introduction describes the major bird-watching hotspots on the covered islands, and how to reach them. Curiously, the guide says next to nothing about the political situation in the area. Surely, both Madagascar and the Comoros are extremely unstable? Was the text simply taken over from the 1998 version of the book? Nor is the political status of the islands mentioned. Isn´t it relevant that Mayotte is a French dependency, while the rest of the Comoros form an independent state? The introduction also include a long list of endemic species, and a ditto of “new species”, although most of these seem to be previously known populations promoted to species status (and in some cases, to conservation efforts c/o the international community).

Many of the birds are virtually unknown even to an arm-chair bookish amateur ornithologist such as the Ashtar Command, I mean, what on earth are tetrakas, jeries, newtonias, couas or the leiothrix? Only currently living or recently extinct bird species are included, so no dodos or elephant birds in this one! By contrast, European migrant birds passing the Seychelles on their way to and from the African mainland are included, including the corn crake. Strindberg would have been surprised, LOL.

With that Swedish in-house joke, I end this review of “Birds of the Indian Ocean Islands”, 2013 edition, which I got for a discounted price when buying CDs from a local vendor (sic). Swedish local, that is.

Last Night of the Dems?



Some Republican pundits comment the latest Democratic primary debate, including the performance of Bernie Sanders and Joe Biden´s bizarre verbal gyrations.