“For twenty years I strove to free myself from what I retained of my education; I indulged my curiosity by reading books less to learn than to efface from my memory the ideas that had been thrust upon it.” ― Georges Sorel, Reflections on Violence.
“Hate is able to provoke disorders, to ruin a social organization, to cast a country into a period of bloody revolutions; but it produces nothing.”
...Men who are participating in a great social movement always picture their coming action as a battle in which their cause is certain to triumph. These constructions, knowledge of which is so important for historians, I propose to call myths; the syndicalist "general strike" and Marx's catastrophic revolution are such myths. (Georges Sorel)
Georges Sorel was a socialist, a syndicalist, and after 1917, a vigorous admirer of Lenin. His anti-intellectualism and his passion for revolutionary activity in place of rational discourse made him most influential in shaping the ultimate direction of fascism, especially in Mussolini's Italy.
Make it new
Denying Jehovah? There have been many attempts made by those perplexed by the absolute. There have been illusions of freedom. Whilst Malevich was intellectualising the black square, Sorel and Berth, with Proudhon in their pockets, railed against such rationalistic decadence.
Reducing humanity to something rationally understood was an insult to the power of imagination and creativity that was at the heart of human consciousness. In Sorel’s mythic conception, Jews like Malevich were condemned as déclassé allies of rationalism, democratic demagogues and cultural decadence and thus devoid of human consciousness. Wedded to mercantile interest and intellectualist ideology, they symbolised the sterile intellectual whose inability to create had its social counterpart in the unproductive economics of the financier. If creativity was the essence of humanity, then to intellectualise was to dehumanise and also forfeit the right to be considered human.
And as God created the heavens and the Earth and, as man is in God’s image, there lies the divine mystery of creativity - that which is Swayambhu, spontaneous and self-manifested being.
Swayambhu the self-generating, self-evolving, self-existent, self-manifesting and self-born. It is this self-generating principle in man, the creative drive of the cave painter, the spontaneity of Dante’s child at play, that is the divine in man. It is the principle that man can create something from nothing. He can overturn the equilibria of Śūnya to create something new. It is the act of a sovereign mind.
It was with an independence of mind that Dante’s pilgrim took up crown and mitre.
Inthe flash of revelation Dante saw our effigy in the epoptikal light. Incarnation, man in God, God in man, capax Dei. The creative mind was that which distinguished man from beast.
And the materialist Jew would take this away from us believed Wagner, Schreber and Weininger. The demiurge would come between man and the divine source of his humanity. Man dehumanised in the Jewish Question and the theory of alienation were one and the same for Marx, who went on to rationalise the dehumanisation as the inevitability of history - whilst Proudhon kicked against it and ended up in Sorel’s pocket.
With no time for dwelling on theory, Sorel rejected science as simply a system of fictions, preaching instead the need for a new civilisation of creators,makers and doers, one that would lift man out of bestiality.
Nietzsche provided the mythos. Out of the Zarathustrian kampf would arise the superman to whom the pitiful existence of contemporary man would be ‘a laughing stock or painful embarrassment’. Zarathustra spoke thus to the people:
You have made your way from worm to man, and much in you is still worm. Once you were apes, and even now, too, man is more ape than any ape... The superman is the meaning of the earth. Let your will say: the superman shall be the meaning of the earth...
Who were the worms to Nietzsche and Sorel? They were the product of liberal democracy, whose spontaneity, invention, and creative will had been crushed by la petite science, the petty bureaucratic imposition of quasi-scientific rules upon society. Human no longer, these were the worms.
‘What I am I owe to Sorel’ said Benito Mussolini, distilling human will to its purest essence in the Doctrine of Fascism.
...by the exercise of his free will, man can and must create his own world.
It is through “the essential value of work, by which man subjugates nature and creates the human world ...
Rooted in Sorel yes, but more so in Giovanni Gentile, who asserted the purest of uncorrupted wills in Mind as Pure Act. Not only is will the root source of infinite possibility, will is in fact life itself. Far from being a product of nature, man possesses nature as the ‘eternal past of our eternal present, the iron necessity of the past in the absolute freedom of the present’. Nothing is impossible. Everything falls before the power of the will. ‘And beholding this nature, man in his spiritual life recovers the whole power of the mind and recognises the infinite responsibility which lies in the use he makes of it.’
Hemingway advised against it, but on 30 January 1933 Pound met Benito Mussolini. The meeting was recorded in Canto XLI: 'Maquesto' / said the boss, 'è divertente.' Pound said he had ‘never met anyone who seemed to GET my ideas so quickly as the boss’.
‘The history of a culture is the the history of ideas going into action’ wrote Pound in Guide to Kulchur. And in Canto LIII Pound translated Tching Tang’s ideograms
as ‘MAKE IT NEW’ - which became the mantra of his life’s work to produce the sacred texts of the future, a renewed path to Eleusis. ‘Make it new’- creativity in its purest form.
And the imperialist flag was torn down by an aspirant artist and revolutionary.
And the banner of first creation was raised - the symbol of Swayambhu, Promethean fire, the vivifying sun, life-giving Apollo was affixed to the red flag. And war was unleashed on the ‘corrupters’ of the creative mind.
‘We must always remember’ wrote Adolf Hitler, ‘that there has never been any Jewish art and there is none today. The two Queens ofthe Arts, architecture and music, owe nothing original to Jewry for it has contributed nothing and created nothing. What Jewry accomplishes in the field of art is either a shorter and simpler version of existing works or outright copies of the intellectual products of others...’
When Žižek, prompted by an alleged remark of Hitler’s that we must rid ourselves of the ‘Jew within’, writes that the Gentiles have needed the anti-Semitic figure of the ‘Jew’ in order to maintain their identity, hemeans this in a clichéd psychological, unconscious way.
But Hitler was wholly conscious in his enmity. Gone were the subtleties, metaphors and nuances of Weininger. Social Darwinism prevailed and in the symbiotic relationship between National Socialism and Zionism, real,living flesh individuals were offered up to simple minds as the ‘other’ to be feared and expunged from the earth.
In the denial of man rather than Jehovah, the path to Eleusis was lost.
© John Dunn.