Today we have posted in our Pages section essay number 17, The Orgiasts (Two), in the series by Jillian Becker titled The Darkness of This World (Part 3).
Here it is in full.
The Orgiasts (Two)
Hermann Nitsch (1938 – ): Hell’s bells and buckets of blood
Hermann Nitsch, one of the founders of the Action Art movement in Austria, publicly performed rituals with animal carcasses and their viscera, and naked human bodies deluged with blood, to the accompaniment of cacophonous music.
He also performed his rituals at private “festivals “ in the courtyard of his home, a baroque castle standing secluded near the Austrian-Czech border. His wife, a Jungian psychoanalyst, had bought it to provide the perfect venue for Hermann’s “Orgy Mystery Theater”. There, Nitsch intended his performances to rouse audiences to such excitement that an orgy would spontaneously erupt.
I witnessed a performance in an art gallery (where I was introduced to Nitsch as “the international press”, having credentials from a British newspaper), and was invited to the castle a few days later.
In preparation for his Action, the flayed and eviscerated carcasses of sheep, goats, oxen and pigs were hung by the stumps of their hind legs from rails and hooks, each against a backdrop of a stretched white sheet, their heads dangling, open-jawed, a few feet from the ground. (In a theater or gallery there would be up to three; but at the castle, ten or more.) Their viscera were heaped near their heads on a plastic sheet covering the ground.
The action began with Nitsch’s assistants bearing in a naked, blindfolded youth (in public these participants were more often boys, but sometimes girls took part too), lying supine on a white stretcher or a wooden cross, and setting him down with his face directly beneath the gaping mouth of a skinned beast beside the viscera.
Recorded music – mostly organ and brass – started plangent and reverberating but not loud. Then Nitsch entered, and strode purposefully towards the carcass in black rubber boots: a thick-set man of medium height with tonsured black hair, dressed all in black but for yellow rubber gloves. At the same time his assistants brought plastic buckets, blue, yellow, black and red, and set them down near the naked body. Nitsch took up a bucket and ladled red wine into the open rear of the dead beast so that it trickled down through its mouth on to the face below. The trickle was followed by a splash, and another, and another, until Nitsch flung the ladle aside and – the music growing louder – sent all that was left gushing through the carcass. He seized another bucket, and poured all it contained through the carcass on to the body. The next bucket that he emptied in the same way was full of blood. Bucket after bucket was brought and emptied, faster and faster. A bucket of wine alternated with a bucket of blood. The downpour became a deluge, now the shining wine, now the viscous blood. The music grew very loud. Whistles and rattles, pipes and drums were distributed to members of the audience so they could swell the noise. Many of the watchers began to stamp, clap, shout as the spirit moved them. Nitsch heaved up the buckets in a kind of frenzy, and flung their contents randomly at the carcass, the backdrop sheet, and the boy below. Bits of raw flesh were now in the blood. The music rose to a deafening pitch, and could be felt rumbling underfoot. The naked body was so drenched that not an inch of white flesh showed through the red. A slippery pool formed on the ground, with the bits of flesh floating in the mess, and as Nitsch continued to swing the buckets, gouts and gobs spattered the spectators. Some of them slithered in the pool of blood and wine. At last Nitsch gathered the slimy viscera in his arms, and reaching up, struggled to stuff them into the stiff cadaver, poking, punching, wrestling with them as they bulged out of his grasp. Some long pieces of intestines tore away and fell over his face while he struggled on blindly. He slipped and fell, letting go the guts to flop where they may. The recorded music stopped abruptly. The whistles and rattles, pipes and drums, clapping and stamping subsided. When Nitsch rose and gestured to his assistants, the blood-dyed, gore-smeared body was taken up and borne away. In the sudden silence, the spectators contemplated for a moment the bloodstained white sheet and the dripping carcass, and then another naked white blindfolded youth was carried in and set down beneath the next beast, the music started again, and the ritual was repeated.
Originally Nitsch slaughtered the animals himself as part of his Action, but the Authorities had objected that his method was cruel. They permitted him to carry on with his performances, but only if he bought dead beasts from licensed wholesale butchers. At the castle, the rites would go on for hours, sometimes through the greater part of a day or night. The spectator-participants would be intoxicated with drugs and wine – some of it from the castle’s own vineyard. (Nitsch told me that he himself preferred wine to the drugs his acolytes brought to the castle – the cannabis, marijuana, heroin, cocaine, and hallucinogens – because he found that drugs “discouraged eroticism”.) They would be further entranced by the corybantic music. Their nostrils would be filled with the raw fetor of blood and guts, augmented by both incense and its counter-smell of animal excreta sprayed from cans. They were expected to be participants in the rite “like any congregation at a religious ceremony”, Nitsch explained to me. “But participating more intimately than co-worshipers. More even than communicants. Like the members of ecstatic cults, they should achieve a kind of trance – which is a proof of therapeutic response.” The ceremonies would be brought to a climax with “copulation, all kinds of sex, including sado-masochistic interactions”. (But, he assured me, my presence at the castle as “the international press” precluded an orgy.)
His performances, he said, were “catharsis-therapy, comparable to psychoanalysis”. He gave me a book, a very thick volume, in which he describes dozens of his actual and imaginary Actions. An example: “Hundreds of Popes, crucified, having a poem read to them while the Emperor Nero, 40 castrated boys, and 3,200 pigs help make up the orchestration.”
And this also is in the book: “Classical psychoanalysis is replaced by sensations which disinhibit and intoxicate: actions with raw meat, damp body-heated guts, bloody excreta, blood warm from slaughter, tepid water, the pleasure of splashing, squirting, pouring, sullying is heightened to intense joy by tearing raw flesh, stamping into guts. The shredded abreactions-god drops into the association-field. The dramatic burrows its way into the excitement of cruelty. Chaos, orgiastic drunkenness, breaks upon us. The intensity of the experience allows a mysticism of aggression and cruelty to develop.”
“The ultimate purpose of the artist,” Nitsch said, “is self-liberation. He needs to break through to the essential, strongly felt experience of existence. Calls to bliss are mixed with the pain of overcoming. That is why it is a form of therapy.”
In many chambers of his castle, crosses were displayed, upside-down or draped in used menstrual bandages. There were monstrances and censers. Blood-stained priestly vestments were hung in rows along a wall. In a long shed, rows of meathooks dangled from overhead rails. And there was a once-consecrated chapel, painted white and gold, with wooden pews carved and polished, and an altar. On the ceiling were frescoes of chubby cherubs with rosy flesh among diaphanous white veils and whipped-cream clouds, holding Christian symbols. Blasphemous rites, Nitsch said, were celebrated there.
Yet Nitsch vigorously denied that Catholicism had anything worth mentioning to do with his work for self-liberation. “My art is Dionysian”, he said. “There is both creation and destruction in our existence. All flows together in the River of Life. So in one festival I must represent all aspects of existence. My work contains cruelty but the opposite of cruelty too. People come here to eat, drink, wander in my garden, my orchard, my vineyards, and enjoy it all. That is important. But the shock of the performances is important. Cathartic, like the old Greek tragedies.”
Nitsch himself seemed a generous and even gentle person, not cruel. He denied that to stage performances with carcasses, guts, and blood-drenched people, was to feed an appetite for the sight of suffering. “On the contrary,” he said, “it channels such desires into art actions which might otherwise require sadistic expression in real life. Here the Opfers [the ‘victims” or “sacrificies” – the German word has both meanings) are all volunteers and none of them is ever hurt.” Not even psychologically? None had said so. “They understood that this too was part of the Heraclitean river of Life containing all things good and evil.”
1. I was commissioned by the Sunday Times Magazine to write about a festival of Performance Art held in Vienna from the 21st to the 30th April, 1978. A Magnum photographer was sent with me. My story was duly printed, with photographs. The cover of the magazine displayed one of the pictures of a Nitsch ritual. Two days before it was to be distributed with the newspaper, the editor became anxious about the pictures. He submitted the whole issue to the editor-in-chief, who apparently said: “You cannot put a picture of all that blood on the Sunday morning breakfast tables of the nation.” So the whole thing was spiked.
2. Nitsch’s performances were indeed modeled on the rituals of the cult of Dionysos, the Greek god of wine. In those rituals, bulls and goats were sacrificed, both beasts being held sacred to him. Celebrants became intensely inebriated and danced wildly to the loud music of pipes, drums and cymbals, until the “god entered into them”, a mystic condition for which the Greek word was Enthusiasm. With the god inside them they were freed from all restrictions of law and reason and, transcending even the supposed limits set by nature, would tear an animal or human being apart with their bare hands and feast on the raw flesh. Bands of drunken men and woman (but in The Bacchae by Euripides, only bands of women called the Maenads), ran and danced, naked or partially clad in the skins of fawns, and smeared with the blood of the animal or human prey, night-long, in wild places, leaping over earth and grass and stone, and indulging every erotic desire. The name for this sacrament was an “orgion” – an orgy. An appendix to these essays will describe the cult, and its reformed version in the cult of Orpheus; and how the Orphic Mysteries contributed to the dogma and rites of both Christianity and Christian Gnosticism.
3. The (3rd century?) Greek biographer, Diogenes Laërtius, in his Lives of Eminent Philosophers, summarizes the philosophy of Heraclitus (535-475 BCE) thus: “All things come into being by conflict of opposites, and the sum of things flows like a stream.” And: “Of the opposites, that which tends to birth or creation is called war and strife, and that which tends to destruction by fire is called concord and peace.” An echo of these ideas is sounded in the “dialectical idealism” of Georg Wilhelm Friedrich Hegel (1770-1831), one of the most culpable philosophers in the flowing stream of European – especially German – thought, right up to the thinkers of the New Left.
Today we have posted essay number 16, The Orgiasts (One), in the series by Jillian Becker titled The Darkness of This World (Part 3). (Find it under Pages in our margin.)
Here is part of it.
The Orgiasts (One)
Peter Weibel (1944- ): Riot as Art
Otto Mühl (1925-2013): Crime as Art
When the tumult and the shouting of the “sixty-eighters” died down in Western Europe, and the terrorists were dealt with by the law courts, and the shallow ideas of the New Left had crystallized into an orthodoxy as “political correctness”, the shocking of the bourgeois – the chief impetus of the movement – was carried on for years in “Action Art”.
In Austria, which claimed to be its home, the political dimension of Action Art (Aktionismus) was inspired by the satirical “happenings” which anarchist groups performed as part of the sixty-eight fun-revolutionary protests.
Though at first the movement was just as dedicated to the defiance and denigration of the civil authorities as the student protests, Austrian Aktionismus actually came to be sponsored for a time by the state. By the late 1970s, exhibitions of Action Art were funded by the government, and even opened ceremoniously by ministers of culture. The artists were celebrities: acclaimed by the media, honored in the universities, given awards and generous grants. Many Austrians were proud of them.
But at the start, when the artists first performed their obscene acts, and painfully assaulted their audiences, they were arrested. Even then they were not held for long. There was an outcry from the progressive intelligentsia: “This is ART. Couldn’t the official barbarians understand that?” The official barbarians hung their heads in shame. This was an age when almost anything was allowed to ART. Criminal violence it may be, but it may not count as crime when it was ART.
In the summer of 1968, a group of Austrian Actionists toured Germany – Munich, Essen, Cologne – with a repertoire of performances in support of the student rebellion. They appeared in sports-halls and amphitheaters “before audiences of 2,000 and more”. They built a water cannon “with extra strong pressure” to turn on to the audience. One of them, Peter Weibel, explained to me (some years later):”The idea of the gathering was rebelling for Vietnam, and the audience had come to demonstrate that they were in solidarity with the Vietnamese who were suffering from American aggression. We believed that solidarity only counts if you are suffering too. But there the audience was, just sitting and not suffering at all. They were there to protest for Vietnam, but they were eating, drinking, doing nothing but waiting to be entertained, exhibiting the typical schizophrenic condition of this society. So we turned water on them.”
The audience did not accept the assault passively, not even for the sake of Art or Vietnam. They threw bottles back at the artists, and then the artists whipped them.
“But first I hurt myself. I worked with fire. Before turning the water on them or whipping them I burnt my own arm. I put chemicals on my skin and set fire to it. This was to show that I earned the right to make them suffer by suffering myself. It was saying to them, ‘Look, I’m in pain so I have the right to be taken seriously.’ In Cologne I had to go to hospital afterwards, and there they didn’t believe me that this was an art action. They called the police and the police thought I had been experimenting with explosives. But my intention was to make rituals. No masochism was intended. While I was burning I was smiling all the time, to say, ‘Look, you can trust me, I won’t lose my nerve.’ ”
He had to work hard on his whipping technique because, he said, “I used a very long whip and I couldn’t make it move fast enough at first, and people in the audience used to catch hold of it and pull me towards them, or jerk it out of my hands, until I learnt how to do it properly so that I cut their faces before they could do anything. The end was always a riot. The police came to stop it, we were arrested, and then we were fined. But that was part of the Action. ‘WAR, ART, RIOT’ the show was called. It was a campaign. Like a military campaign, only with Art.”
In that same momentous summer, one of the founders of the Action Art movement, Otto Mühl, along with other Actionists, put on a performance in the auditorium of the University of Vienna titled ART AND REVOLUTION. They announced that it was for the victims of the Vietnam war. Mühl described it to me as “pissing, shitting, beating, and masturbating while singing hymns”. He and the other artists were arrested and imprisoned.
By the later 1970s, Mühl had stopped giving public performances, preferring to concentrate on “self-expression psychoanalysis and therapy through sexual activity and all other natural functions”. His theories on psychotherapy, he said, were “derived from those of Wilhelm Reich – and also of course from Sigmund Freud, our Viennese Urvater of psychoanalysis.”
Otto Mühl had founded two communes: one in Vienna, and one on a farm, Friedrichshof, in the Burgenland near the border with Hungary (which was then, and for another two decades, under an oppressive Communist regime obedient to the Kremlin). He named the country commune “The European Center of the Action-Analysis (AA) Organization of Conscious Life-Praxis”. Followers of his movement formed “branches” in Berlin, Hamburg, Kiel, Bremen, Oslo, Geneva, and Paris. At the start of his campaign Mühl visualized a “world commune organization, a global society made up of communes”, all of them following the pattern set at Friedrichshof, for the better health and happiness of mankind. In 1976, membership of his organization peaked at a little over 500.
Central to Mühl’s “praxis” was Selbstdarstellung, or “SD”, meaning self-expression, carried out in groups under a Self-Expression Leader whose aim was “to exorcise the small-family person” – der Kleinfamilienmensch – from the communard-patient. The process, Mühl maintained, was “Action Analytical Art”. His Selbstdarsteller had to become a performance artist. Before an audience of fellow communard-patients, he/she “wanders through childhood and corrects the damage that was done” to him/her. “The audience will be deeply moved when the patient recreates the scenes of his childhood damage, lets himself fall into a birth-experience and demonstrates the meaning of health as a new-born baby. From the re-enacted birth-experience – often accompanied by an enactment of ‘the killing of Mummy and Daddy’ – the final self emerges in the Selbstdarstellung, which is also called ‘dissolving the genital armoring’.” Beyond that, he’d explain, “lies not only cure but true liberation”; that is to say, an ability to experience “psychophysical orgasm” by which the patient/artist is liberated to enjoy “full sexual and social freedom”. The person has “found his/her identity in orgasm”.
What actually happened in the performance ending with a rebirth? What was Otto Mühl’s work as an artist-therapist? Simply sexual activity in public. “Free sexuality is an integral part of commune-society. The exclusive two-person relationship is a sickness of the small-family person” Mühl told me. (He also, in an unguarded moment, confided to me that he was “surprised to find that many of the male patient-artists developed impotence in the course of the treatment”.)
Although the achievement of personal liberation from authority was one of the chief aims of the therapy, the commune had strict rules. Both men and women, for instance, had to have their heads shorn of all hair and to dress in uniform trousers with a flap in front “to facilitate work” – namely, copulation-masturbation-therapy. The enterprise was dedicated to the defiance and destruction of “authoritarianism”, and the method was regulated in a sternly authoritarian manner.
It was a life-style of enforced asceticism, combined with extreme libertinism. All bodily functions were on display; the bathrooms and toilets had no doors. No member was allowed privacy, or money, or any personal property. “The commune rejects commercial and profit thinking.” On joining, a member made over all his property and wealth to the organization, including real estate and income from any source, even student grants. Members were discouraged from making contact with their “small family” (more commonly called, in English, the “nuclear family”) or anyone in the outside world, because “society predetermines their emotional misery, as if the world were ruled by an evil spirit”.
The communal life itself, according to Mühl, was “an art form”. So was every performance of “direct art actions”, which consisted of persons – often, if not always, drugged – performing sexual activities before the rest of the assembled group, “with objects, animals, excreta” and fellow communards of either sex and every imaginable erotic desire. Photographs of the actions were taken, collected, edited, and published in professionally printed and bound volumes.
Children were admitted to the Mühl communes with their mothers. Some were born in them. “Children”, Mühl said, “grow up in the commune without sexual repression, so they will be healthy and socially well adjusted. The sexual activity of the parent is not concealed because nobody is made to feel that it’s forbidden.”
But adjusted to what society? …
The practice of any conventional form of art was discouraged (though Mühl himself painted in a private studio standing apart from the main buildings of the commune). “It is enough that the commune life is itself an art-form,” he said.
And so, in his theory, was death: “killing people is an element of art to come.”
“to make art – you do not need a piano – detergent and jam and urine will do – art may slip into every material and out of every hole – everybody can do art if he can find the pepper – boycott the pigs controlling the mass media – do not buy newspapers or tv-sets or cinema tickets – blast the opera houses – from now on all there is will be presented directly, coitus, torture, medical operations, destruction of people and animals and other objects is the only theater worth seeing – the rest is nonsense! – the inner life will be reduced to bodily acts – religious and political pigs can only be stopped by brutal use of all means – pornography [contrary to other statements] is a suitable means for curing society of genital-panic – the elements of art to me are eating, drinking, shitting and pissing, fucking and killing people. – these are the hot irons of our times – murder as art.” …
There has been a heated exchange of views in our comments sections on some of our recent posts dealing with Nazis, Communists, and other socialists, particularly on yesterday’s post, Tomorrow belongs to them, and the extract from Jillian Becker’s essay The Fun Revolutionaries, July 26, 2015 (posted in full under the title The Darkness of This World [Part Two], to be found under PAGES at the top of our margin). Today we post an article by Jillian Becker on the same subjects, with an explanation of how it came to be written.
A new production of Hamlet is being put on at the Barbican Theatre in London, starring the impressive actor, Benedict Cumberbatch. The director, Lyndsey Turner, sees generation rebellion as an important aspect of the story, and observes that the events of the play take place some 30 years after a war between Denmark and Norway (a war which Denmark won). The assistant-director, Sam Caird, wrote to me on June 8, on behalf of the director, asking me (as the author of Hitler’s Children) to come and speak to the company about generational rebellion in West Germany in the late 1960s, when the New Left movement protested against the parent generation of the Third Reich (which of course lost the Second World War). I felt honored by the invitation, but explained that I could not travel from America to speak to the company, much as I’d have liked to. Instead I promised them a paper on the subject. Here it is:
Generational Rebellion and its Effects in West Germany, 1967-1977
Most of the declared causes of the 1967-1968 student protest movement in West Germany were ideological. The protestors were for pacifism, and against authoritarianism, capitalism, militarism, nuclear arms, the re-armament of Germany, and – intimately associated with all that – “Amerika”. A more immediate cause, and the one they felt most strongly about, was university reform. They wanted more representation on the governing boards, and the dismissal of teachers who had been members of the Nazi party.
Immediately after the Second World War, the victorious Western allies had carried out a “denazification” campaign. It had worked well. Most West German voters became firm democrats. Their children grew up knowing what the Nazi regime had done, but its ideology was literally locked away from them. Hitler’s “Mein Kampf”, for instance, was inaccessible to post-war generations. One could look at it in a university library, but only if a professor certified that one needed it for approved research. With that sort of policy, the campaign went too far. All ideas should be critically examined.
Shame and guilt kept most parents from talking to their children about what they had done and thought in the years of the Third Reich. Nevertheless, as a generation, the parents were stigmatized in the eyes of their grown children. Those fathers who survived the war had their personal authority weakened by the Nazi police state, and fathers and mothers alike were demoralized by defeat and the revelation of the death camps. The student protestors held the crimes – though not the defeat – against the older generation in general. Some of the more radical activists proudly proclaimed that they were doing what their parents had failed to do: denounce and defy the Nazi regime. They disregarded the fact that they were doing it many years too late. They saw Nazism in all authority – in the schools, the universities, the Federal government, the states’ governments, the press, the commercial world, the military, the police, the banks, and “Amerika”.
Among the fiercest of the student rebels were children of liberal parents. Their sons and daughters accused them of not doing enough to compensate for their past, and of hypocrisy – preaching egalitarianism but living in luxury while others were poor.
In fact, almost nobody in West Germany was poor. All classes had worked extremely hard; and aided by the Marshall Plan, by which America provided vast sums for reconstruction, they had succeeded beyond all expectation in creating astonishing prosperity. It was called an “economic miracle”.
And the student rebels have been called the “the spoilt children of the economic miracle” – ungrateful for the freedom and plenty bestowed on them. They were well housed, well fed, well educated, supplied with all the goods the cornucopia of the West could pour on them. What did they have to complain of?
The answer they needed came from the New Left political philosopher, Herbert Marcuse. He asserted that the apparently free peoples of the West were oppressed by plenty and repressed by tolerance. They were hoodwinked into an illusion of contentment by material abundance and ample choice, while they were actually subject to the vicious tyranny of big business, the military-industrial complex, and “American imperialism”. The student protestors, he declared, were the “advanced consciousness of humanity”, whose mission it was to lead the revolution.
It may seem strange that of all West Europeans, these young Germans, with their country divided between a Communist east and a free west, should be so easily persuaded that New Left Communism was preferable to liberal democracy. Some of them were even refugees from Communism, their families having fled to the West before the Berlin wall was built. How could West Germans be unaware of the poverty, the privation, the bleakness and anxiety of life on the other side of the Wall? Why did the students so naively swallow the Soviet line that the Russian-led Warsaw Pact was all for peace, while American-led NATO was a war–monger? Why did they so furiously demand that the West destroy its nuclear bombs, but not Russia? How could they not know that in the USSR rebels against the system were routinely imprisoned, tortured, killed? If they did know, the knowledge had little or no effect on their passionately held opinions. They blamed America for the war in Vietnam, the wretchedness of the peasants in South America, the oppression of the Iranians, and inequality everywhere; but the USSR they exonerated, and even admired, no matter what it did. Why? Because they accepted the lie that Communism is the opposite of Nazism, rather than its twin, which it is.
A voice raised in support of the protestors was that of the journalist Ulrike Meinhof. She wrote for a leftist periodical, Konkret, owned by her husband. Her columns were ardently pacifist, anti-American and pro-Communist. Her foster-mother Renate Riemeck, who had fled from Communist East Germany, typified the attitude of liberal West Germans to Communism. She believed that “anti-Communism was the fundamental foolishness of the twentieth century”.
Through the early months of I967, the demos in the universities and on the streets grew ever bigger and more unruly, and clashes with the police ever more violent. The students hurled stones at the police and clubbed them with thick staves; the police charged and struck about them with their batons. (Only a very few of the marchers knew that Soviet agents had launched the movement. Not until the fall of the USSR did evidence emerge that it had funded the “peace movement” in Western Europe.)
On the 2nd June, 1967, there was a very large demonstration in West Berlin protesting a visit by the Shah of Iran, and in the midst of a skirmish a student was shot and killed by a police bullet.
For days and nights following the event there were meetings of student organizations for highly emotional discussions of what had happened and what should be done. There was general agreement that the shooting had proved them right – the fascist state was out to kill them. They must organize for resistance. They could only answer violence with violence. At one gathering, a young woman named Gudrun Ensslin shouted , “It’s the generation of Auschwitz – you cannot argue with them.”
Protest demos continued at intervals for another year. In February 1968, older citizens, including large numbers of trade union members, staged a massive counter-demo organized by the Berlin senate, to protest against the students’ revolt and “anarchy”. It was a rare public display of anger by the parent generation.
After the middle of 1968 the students’ movement faded. The majority of protestors were mollified by new university constitutions granting the students more say in the conduct of their affairs. But there were some who could not easily give up the heady excitement and return to normal life. And there were a few who did not find their way back at all.
In 1969 there were random bomb attacks on property, and though they harmed no people, they created an atmosphere of fear and insecurity. The official explanation was that those responsible were “isolated individuals and small militant groups on the fringes of the New Left”. But not everyone believed it. Rumors spread of an “underground resistance” being formed. Gudrun Ensslin, the woman who had shouted that the older generation could not be argued with, and her lover, Andreas Baader, had firebombed a store in Frankfurt in March 1968.
They had been sentenced to three years in prison. But as the “fascist” authorities were in fact lenient to a fault, they soon let them out again, pending an appeal. The arsonists absconded, helped by sympathetic members of their parents’ generation: lawyers, parsons, teachers, professors, doctors, journalists, artists. As soon as asked, they provided the fugitives with cars, money, and apartments. Later they excused their weakness by pleading for the terrorists that “their hearts were in the right place, their aim for peace was good, only their violent method was wrong”.
When Baader was re-arrested and returned to prison, after he had been on the run for nearly a year, Ulrike Meinhof helped him escape again. She sought permission for him to work in a public library with her, and the all-too-soft authorities granted it. While they sat together in a room barred to the public, three raiders shot their way past two armed policemen guarding the prisoner, and got him out through a window. Ulrike Meinhof fled with them.
In their reports of the drama, the media designated Baader and Meinhof as the leaders of the group. They called it the “Baader-Meinhof gang”. At the same time the group itself took the name “Red Army Faction”. Its members robbed banks, shot policemen, bombed public buildings, maimed, kidnapped, tortured and murdered until most of them were caught and brought to trial.
At every point of the story until that stage was reached, the authorities of the Federal Republic of West Germany, far from exhibiting fascist tendencies, acted with so much restraint that it often amounted to foolhardy indulgence – at least partly because they feared to be accused of “authoritarianism”. It was the terrorists who acted like fascists.
Their generation could be called “Hitler’s Children” simply because they were born in the Hitler period. But when applied to the terrorist rebels, the label means more than just a generational relationship. It implies a family resemblance between the Nazis and the New Left activists.
An incident in their history illustrates the similarity. On June 27, 1976, an Air France airbus, on its way from Tel Aviv to Paris, was hijacked by two Germans and two Arabs. The pilot was forced to fly the plane to Entebbe, in Uganda, which was then under the dictatorship of Idi Amin (a keen fan of Adolf Hitler). The Jews were separated from the rest of the passengers. In return for the lives and freedom of the Jewish hostages, the terrorists demanded the release of fifty-three prisoners, of whom forty were held in Israel and six in Germany.
Among the Jewish hostages there were some who had been in Hitler’s concentration camps. Yet again they found themselves being sorted out from others by Germans, to be victimized and possibly killed. Again they were ordered about at gunpoint, slapped and shouted at to move quickly: “Schnell!” One of the captives showed the Germans his arm with a number indelibly branded on it, and told them he had got it as a prisoner of the Nazis. He said he had supposed that a new and different generation had grown up in Germany, but with this experience he found it difficult to believe that the Nazi movement had died. One of the hijackers snapped back that this was something entirely different from Nazism; that he was a member of the Red Army Faction, and what they wanted was world Marxist revolution. But the man with the number on his arm and the other Jewish captives could not see a difference.
All but four of the Jewish hostages were rescued by Israeli commandos. Along with the Arab hijackers and 48 Ugandan soldiers, the Germans were shot dead.
Did the terrorists themselves really believe that their actions would inspire a general uprising in West Germany? Or were they just playing a very dangerous game? As they had no obvious cause of their own to justify their tactics, they have been called “the fun revolutionaries”. They themselves feared not being taken seriously, which is why some of them, including Meinhof, Baader and Ensslin, went to Jordan in June 1970, to join the Popular Front for the Liberation of Palestine (PFLP) and undergo “urban guerrilla” training.
The PFLP is an Arab nationalist and Marxist group, founded by a Greek Orthodox doctor, George Habash, who believed that his fight for the Palestinian and Arab nationalist causes was a necessary part of world revolution. He and his men came to despise the German men as soft, inept – and unserious. Both sides disliked each other, though Meinhof said that the training was “much more fun than sitting at a desk with a typewriter”. After two months the Germans returned home.
It was with the PFLP that some members of the group later co-operated in the hijacking of the Air France plane to Entebbe. Three of the six German prisoners whose release was demanded were “Baader-Meinhof” members, but Andreas Baader himself was not on the list. And by that time Ulrike Meinhof was dead, having hanged herself a few weeks earlier. New terrorists joining the “armed struggle” were not sorry to be rid of them. And their former helpers in the general population had finally lost sympathy with them. Meinhof had been given up to the police by a teacher with whom she had sought asylum.
Ulrike Meinhof, Andreas Baader and Gudrun Ensslin all killed themselves in prison: Meinhof in May 1976, before the court had given its verdict at their trial; Baader and Ensslin in October 1977, after they were sentenced to “three times life plus fifteen years”.
Some members of the gang admitted when they were caught that they had joined because it was “so romantic to go underground and make revolution”. Meinhof might have come close to convincing herself that she was working effectively towards the transformation of the world, but she became ever more confused, to a point where she was rapidly losing her reason. Ensslin, volatile and truculent, and Baader, a doltish bully and natural delinquent, finally understood when the judges pronounced their sentences that what they had done would not be admired, or excused, or forgiven. The game was over.
Their last hope was for martyrdom. They tried to make their suicides look like murder by the “fascist” state. They fantasized that their deaths would enflame multitudes to rise and avenge them by making revolution at last. Of course nothing of the sort happened. They neither led nor inspired a Communist uprising in West Germany. But all the Communist regimes in Eastern Europe collapsed, the Berlin Wall came down, and in October 1990 Germany was reunified.
An afterword: What did the Communist Party of the Soviet Union think of them? A Moscow publication of the late 1970s said (rather to my dismay) that I was right to call them “Hitler’s Children”. And it explained that the CPSU scorned them because they were “left-wing Communist individual terrorists” – meaning they were not controlled by the Party – and as such, according to Leninist doctrine, they were not acceptable participants in the “revolutionary armed struggle”.
Jillian Becker June 2015
Today we have posted essay number 15, The Fun Revolutionaries, in the series by Jillian Becker titled The Darkness of This World (Part 3). (Find it under Pages in our margin.)
It is about the New Left rebel movements in Europe in 1967 and 1968; the Baader-Meinhof gang; the “Paris May”; and the political philosophers who incited and excused the violence that led to terrorism.
Here is part of it. As usual, we draw attention to the importance of the information in the footnotes (not added here).
The Fun Revolutionaries
Herbert Marcuse (1898-1979)
Louis Althusser (1918-1990)
Guy Debord (1931-1944)
The New Left arose in the Western world in the late 1960s. Its name was not intended to distinguish it from the Leftist regimes of Russia and China, and its philosophers and activists did not become famous for criticizing Stalin and Mao Zedong. What made it “new” was chiefly a momentous change in a central Marxist doctrine, forced upon it by History herself: the working class was no longer the bearer of “revolutionary consciousness”.
What had happened? The workers in the capitalist West had simply let the side down by becoming prosperous, and – what was worse – happy in their prosperity. They could not, would not, be persuaded it was in their interest to overthrow a system that provided them copiously with the good things of life.
It was a disappointing and downright treacherous development, and Communists found it hard to get their heads round it. While the revolution was still inevitable, who would become the dictator of the new order if not the proletariat? Some theorists reached in desperation for the Lumpenproletariat, the underclass of vagabonds, beggars, low-life criminals, which Marx himself had rejected as revolutionary material. But most shifted their hopes to the underdeveloped Third World with its vast reserve of underdogs, the “victims” of “imperialism” and “colonialism”.
One of the most prominent theorists of the New Left, Herbert Marcuse – considered by many to be its progenitor – reached for both the underclass and the Third World. He wrote: “The people [ie. the workers] recognize themselves in their commodities; they find their soul in their automobile, hi-fi set, split-level home, kitchen equipment … [But] underneath the conservative popular base is the substratum of the outcasts and outsiders, the exploited and persecuted of other races and other colors, the unemployed and the unemployable. They exist outside the democratic process. … Thus their opposition is revolutionary even if their consciousness is not.”
He recognized, however, that the revolution needed to be led by persons who could understand what he was talking about. Who could those be but the young educated sons and daughters of the bourgeoisie?
They represented, Marcuse said, “the most advanced consciousness of humanity”. It was their mission to lead the exploited but ignorant “substratum” against the established order. They could understand that while the capitalist order might look good, really it was bad. Its material abundance lulled people into an illusion of contentment. Its tolerance was really a form of repression. By leading the revolution, they could liberate the free from freedom and rescue the well-provided-for from plenty. And they did not actually have to give up anything, or go anywhere to do it. They must only “give themselves to the Great Refusal”; say “no” to liberal democracy and capitalism, and with their advanced consciousness, feel at one with distant victims.
The thousands of young rebels who marched down the streets of West European university cities on Sundays and fine spring evenings in 1967 and 1968, did not have to read the works of Sartre, Foucault, Lukács, Marcuse … to know what they thought and taught. The intellectual atmosphere of the West was saturated with their ideas. Rising generations had only to breathe to be intoxicated with a passionate hatred of freedom and everything else the West stood for.
They knew Marcuse’s flattering description of them; and they knew that not every Marxist professor agreed with it. Louis Althusser did not think the student protestors could or should lead the revolution which he continued confidently to expect the workers to bring about. But he did allow them to consider themselves working class; to “identify with” the proletariat. Louis’s wife Hélène told him that she saw no proletariat – or none likely to make revolution and establish a dictatorship in fulfillment of Marx’s prophecy. In Louis’s eyes, that was sin and apostasy. So he strangled her to death.
What did the student protestors say it was all for, the anger, the tumult and the shouting? Gently-reared, well-nourished in safe and comfortable homes, educated in lavishly equipped academies, these beneficiaries of Western Europe’s post-war economic recovery (greatly assisted by America’s Marshall Plan) had no cause of their own. But Marcuse told them they were oppressed by plenty and repressed by tolerance. And Althusser told them they could be let off being bourgeois as long as they felt they were working class. They did not have to be for anything, only against their country, class, and civil order: against capitalism; against the bourgeois; against “authoritarianism”; against having to taking exams; against the “military-industrial complex”; against nuclear arms in the hands of Western powers (but not in the hands of the Soviet Union); against war in general, and the current war in Vietnam in particular, where America was supporting the South in conflict with the Communist North. America embodied almost everything they were against. America was “imperialism” itself.
Released by Marxist philosophy from the bonds of conventional morality, and being well supported materially by their compatriots whose labor allowed the country to afford the luxury of gesture politics, they joined together fiercely and joyfully in the marches, the sit-ins and teach-ins, the interruptions of public events in lecture rooms and concert halls, the abuse of figures in authority, and sometimes in actual physical clashes with the police – those ready representatives of “authoritarianism”. They felt brave, while knowing that the police would not hurt them. When, occasionally and without intention, in the midst of a skuffle, the police did hurt one of them, they were blissfully outraged, and claimed they had “brought the fascist out of the policeman” so everyone could see how right they were to protest.
Most of the demonstrators were satisfied after a while with making angry gestures and shouting for revolution. Before the decade was over they had had enough of it, and the movement petered out.
But in Germany there were a few who could not bear to give up the fun, the excitement, the romantic pretence that they were leaders of a revolution. To prove their worthiness for that role and show themselves to be more dedicated, more daring, more active, more heroic, more self-sacrificing, more angry in the cause of pacifism than all the rest, they resolved to use violence in the cause of anti-violence. They would kill for peace. They would bomb for the revolution and the Communist paradise that lay on the other side of it.
So it happened that in Germany small gangs of terrorists emerged out of the student protest movement. One of the first bombs planted by German terrorists maimed a child for life, and destroyed the livelihood of a painter who was working through the night on the walls of a newspaper office, by blowing off his hand. The most notorious group called itself the Red Army Faction (Rote Armee Fraktion). It was better known by the name the media gave it: Baader-Meinhof, after one of the men, Andreas Baader, and one of the women, Ulrike Meinhof, who formed and led it.
“There is nothing I would not do, however base, to change the world,” Ulrike Meinhof said. And she and her merry band did abominable things: kidnapped, killed, burned, shot, and bombed, to improve the world.
For a while they felt quite safe. Their parents were professors, politicians, lawyers, teachers, doctors, clergymen, journalists, businessmen, some even movers and shakers of the Federal Republic of Germany, and most of them had been sympathetic to the protest movement. Many of them were impressed – as their children expected them to be – by the lengths the “absolutists” were prepared to go to for the higher good and their own liberation from bourgeois values. The older wiser heads opined, “Their hearts are in the right place, only their methods are wrong.” Only maiming and slaughtering their neighbors; only putting fear of injury, agony, and death into all who went about their business in public places.
As a result of this indulgence, the terrorists were genuinely astonished by the punishment meted out to them when they were arrested, tried, and found guilty of grave crimes. The fun was over for them then. They finally had to believe that they would actually be imprisoned for a very long time, perhaps for the rest of their lives; they, “the most advanced consciousness of humanity”, who had only done what the best minds of their parents’ generation had urged them to do! The courts did not appreciate that what they had done was necessary for the establishment of heaven on earth. The Judges did not share the opinion the status quo had to be swept away so that the inevitable new world could be born. They and the general public had only to peer over the Berlin Wall at that part of Germany which had been flung – along with the other east European countries – under the jackboot of Soviet Russia after World War II, to be sure that they would rather be repressed by tolerance and enslaved by plenty than live over there with scarcity and fear.
Some of the terrorists, including Ulrike Meinhof, who passed through Communist Germany on their way to and from terrorist training camps in the Middle East, did not like what they glimpsed. The glimpse told them that a life there would not do for them. Although they had voluntarily taken the lampshades off the lamps in their West Berlin communes to demonstrate their scorn for luxury, they had never had to go without central heating, ample food and good quality clothes; and they who had chosen to drive to the scenes of their robberies, arsons and murders whenever possible in a (stolen) Mercedez Benz, laughed and shuddered at the cheap plastic-bodied Trabants with their noisy two-stroke engines and their smelly exhaust which they sighted and smelt in sparse numbers on the strangely empty and ill-kept roads of East Berlin.
In truth the entire student protest movement was frivolous. It was all posture and gesture. All fake, the pity and the indignation – everything except the conceit. Worse, it was mockery. For such as they, the most fortunate of the human race, to claim to be fellow sufferers with selected victims of oppression and poverty, was to make mock of them and their plight. The charade of insurgency was performance art on a grand scale. But neither they nor their hooray-chorus of philosophers and professors saw it for what it was. Despite their “advanced consciousness”, they were oblivious to the cruel sarcasm of their masquerade. …
Full substantiation of what is said here about the Baader-Meinhof gang can be found in Jillian Becker’s book Hitler’s Children. (Click on its cover in our margin.)
Today we have posted essay number 14, Mystic Communism: Georg Lukács, in the series by Jillian Becker titled The Darkness of This World (Part 2). (Find it under Pages in our margin.)
Here is part of it. We hope you won’t neglect the footnotes (not added here). They are laden with information.
Georg Lukács (1885-1971)
Georg Lukács was the quintessential revolutionary romantic of the twentieth century, longing to avenge his inner desolation on the civilization that nurtured him. And as an active participant in two revolutions and two despotic regimes, that is what he did.
With this essay we come to the nub of the whole series. Like all the other self-absorbed intellectuals we have talked about, fictitious and real, Georg Lukács advocated the doing of evil as the necessary means to a higher good. But unlike the others, he found himself actually in possession of the power to harm and destroy other lives, and he used it with passion and pride.
He was born in Budapest in 1885. The son of a banker ennobled by the Emperor of Austro-Hungary, he was nurtured in luxury. In his late teens he started writing professionally, reviewing plays for a small circulation periodical. He promoted the staging of avant-garde drama. He also tried to write plays, but without success. He realized and accepted that he “would never be a producer” and regretted that he “was no writer” – by which he probably meant a writer of plays, novels or poetry.
In fact he wrote prolifically. His first book, Soul and Form, appeared in 1910; a collection of essays mostly in literary criticism. Their dominant themes are art, Romanticism, longing, God, love, death, and bourgeois life. The volume was greeted with critical acclaim. No less a judge of literary merit than Thomas Mann – who was later to be the most insightful and devastating critic of Lukács’s character – praised the work as “beautiful and profound”.
One of the essays is about some German and Swiss writers who, Lukács allows, created admirable works despite being bourgeois. “The bourgeois way of life signifies only a denial of everything that is beautiful, everything the life-instinct longs for”, he states with conviction.
This was not the disdain of the aristocrat for a class beneath him. (The von Lukács family, for all its wealth and title, would in any case have been classed as haut bourgeois rather than true nobility.) Nor was it (yet) a revolutionary’s contempt for the established order. It was the romantic artist’s repudiation of the average and ordinary. Lukács deemed himself an artist because, he wrote, “the essay is an art form”, and essays such as his could be “intellectual poems”.
He concedes that a degree of genius is to be found in the works of those ordinary bourgeois men who were nevertheless writers. “This bourgeois way of life,” he wrote, “has no value whatsoever, in itself. For only the works which it brings forth confer value upon a life lived within such a framework and within such a form.”
What makes a life bourgeois, Lukács explains, is “first and foremost by the exercise of a bourgeois profession”. (One of the writers he examines earns his living as a judge, another as a clergyman, another as a government clerk. Lukács himself had no need to earn a living.) “A bourgeois profession,” he goes on, “as a form of life signifies, in the first place, the primacy of ethics in life”. These ethical men “do their duty”. The characters in the stories of one of them are “incapable of evil”; there is “no real sin” in their world. But that, to Lukács, far from being a fine thing, is a fault. The artistic achievement of these merely ethical men is, he declares, “great after its own fashion”. But he himself valued the aesthetic far above the ethical. The highest art could not be achieved by a person who binds himself to duty, but only by one who is capable of sin, intimate with beauty, and whose life-spirit longs for … the unreachable. For years his life-spirit burned with longing, seeking what it could not find; the search, and its frustration, being the tragic fate of such a soul as his.
“This longing is more than just something waiting for fulfillment, it is a fact of the soul with a value and existence of its own; an original and deep-rooted attitude towards the whole of life, a final, irreducible category of possibilities of experience,” he wrote. Such a soul “will always long for something he can never reach”.
In 1911, Lukács wrote a story titled On Poverty of Spirit. It is told in the form of a letter from a woman to the father of a young man who has killed himself. She recounts a conversation they had two days before his death, about the suicide of her sister, who had been the young man’s lover. He talks at length about his ideas and feelings, for the most part philosophically, but he does state plainly that he is guilty of her death “in the eyes of God”, in that he failed to “help” or “save” her. One can discern through the thicket of beautiful profundities, that he had refused to marry her because he wanted to dedicate himself wholly to his work as a writer. Furthermore, “she had to die so that my work could be completed – so that nothing remains in the world for me except my work.” But after all the argument about it and about, Lukacs wants us to understand that the young man did the right thing when he shot himself, because of his guilt and for other sound, if rather obscure and certainly long-winded, philosophical reasons.
On Poverty of Spirit was written after – and about – the suicide of his own lover, Irma Seidler, whom he had not married, being dedicated to his work as a writer. She had married someone else, had not been happy, and had drowned herself. The story he wrote was a confession of his guilt. But he himself did not do the right thing. It was enough that his alter ego did it in the story: the brilliant young man tragically performing an extreme act of penance in fiction rendered it unnecessary for Lukács himself to perform it. Besides, what he, the author, did was something better, higher: he gave the episode a “form” as a work of art. When Lukács spoke of “form” he meant art – always expecting the word to resonate in the minds of his cultured readers with Plato’s theory of “Forms” or “Ideals”. To him, a work of art was a revelation, or representative, or reminder of the “noumenal” reality that – so Plato and Kant have convinced Middle European intellectuals – lies behind, beyond, above this “phenomenal” world in which we live.
When he wrote Soul and Form, Lukács believed that the two worlds were irreconcilable; that a soul belonged to one or the other. (He does not say, but almost certainly knew, that in the creeds of the old Gnostic cults, the souls of the “Perfects” or “Pneumatics” belonged to a transcendent world, while the souls of the common “Hylics” were bound to the earth). His own soul – he knew – belonged to the higher, better, mystical world, the world of “essences”; the unreachable world. Here in this world, “abandoned by God”, he felt he was a stranger, an alien on earth; that humankind did not belong here; and that there was “an antagonism between the soul and the world”. That is what he meant when he asked rhetorically- cried out, so to speak, in his writing – “How can one bring essence into life? How can life become essential?” For years he searched for an answer. Morbidly pre-occupied with death, tragedy, and the condition of the human soul – above all his own – he wrote: “Man is abandoned to immanent meaninglessness.” He longed for “an extinction of selfhood” through “complete absorption of the ego into a higher being”.
Often he conjectured that the only answer was in death, and he brooded on suicide. He declares in Soul and Form: “Life is without value, without significance, and we [presumably he and all those who suffer the same spiritual anguish] would be ready to consecrate it every moment to death.”
His was an intensely religious temperament, but he was drawn neither emotionally nor intellectually to any organized religion; not to the Judaism of his ancestors, nor to Christianity – though his parents had him baptized in the Lutheran church in 1897 so that he could attend a good Lutheran school.
Karl Jaspers – later a famous philosopher – met Lukács in Heidelberg in 1913 and had no difficulty recognizing the nature of his contemporary’s mystical beliefs. He records: “Many came to Heidelberg [University] who were men of letters and potential candidates for Habilitation. Among them was Georg von Lukács from Budapest and Ernst Bloch from Mannheim. … At that time, they were Gnostics who shared their theosophical fantasies in their social circles.” It is probable that Lukács simply announced to Jaspers and all the company that he was a Gnostic. He was calling himself a “gnostic activist” in his writings years before he became in any way active in public life.
By “gnostic” he meant possessed of that intuitive knowledge which is a special gift to the specially gifted. What he intuitively knew which the ordinary (bourgeois) person could not know in the same way, was that there was a higher better world, the “intelligible” world: the “essential” world; the “noumenal” world. What he meant by “activist” is less clear. He seems to have meant that he not only thought philosophically that there is a higher better world, but that he also felt it. The activity was not muscular but emotional. It was not worked out by the intellect but immediately known by “intellectual intuition”, through which one might become “good”.
Become good? But had he not rejected ethical behavior? Certainly he had – and by “goodness” he did not mean anything so bourgeois as ethical behavior. He expounds his idea of what goodness is in Poverty of Spirit:
“Prince Myshkin [hero of Dostoyevsky’s novel The Idiot] and Alyosha [hero of Dostoyevsky”s The Brothers Karamazov] are good; what does that mean? … [T]heir knowledge [gnosis] became realized in deed, their thinking left the purely conceptual realm of knowledge, their view of mankind became an intellectual intuition: they are Gnostics of the deed.” … “Goodness is the miracle, the grace, and the salvation. The descent of the heavenly realm to the earth. … It is an abandonment of ethic. Goodness is not an ethical category; you’ll find it in no consistent ethical system. And with good reason. Ethics is general, binding, and far removed from men; it is the first – the most primitive – exaltation of mankind over the chaos of everyday life; it is man’s moving away from himself, and from his empirical condition. Goodness, however, is the return to real life, man’s true discovery of his home.” … “Goodness is madness, it is not mild, not refined, and not quietistic; it is wild, terrible, blind, and adventurous. The soul of the good one has become empty of all psychological content, of grounds and consequences; it has become a pure white slate upon which destiny inscribes its absurd command to be followed blindly, recklessly, cruelly to the end.”
In the First World War, Lukács was conscripted into the Austro-Hungarian armed forces; but he dodged the draft with the help of a certificate from Karl Jaspers (who was a qualified doctor and psychiatrist), and through the use of his father’s connections – the calling in of a favor owed to the banker by a personage close to the royal and imperial government. Duly declared unfit for active service, Lukács did his patriotic duty as a letter censor in Budapest for a few months in 1915.
It was after the war, when his country was in the abjection and disorder of defeat, that he found the answer to his spiritual search, a solution to his loneliness, despair and longing. He recognized that the “higher being” into which his “ego” might be “absorbed” was the International Communist movement. In December 1918 he joined the newly formed Hungarian Communist Party.
The commitment of his soul to the Party was no less religious for being political. He saw Communism as a cure not only for his own discontent – his despair, or loneliness, or Faust-like boredom with the contemplative life – but for everyone else’s too. He assumed that everyone suffered from the same malaise as he did. As a general social phenomenon he called it “alienation”, and declared it to be the result of capitalism and the bourgeois order. Communism, he believed, was the salvation of all mankind, provided only that each soul had faith enough and submitted utterly to its church. …
Jillian Becker July 19, 2015
Terrorism is a method.
It is not an ideology, or a movement, or a conspiracy, or a policy, or an aim.
Its users might be an organized movement that conspires to adopt the tactic; and a state might use it against its own people as a matter of policy. But terrorism itself is simply a method. A tactic.
Terrorism is not hard to define:
Terrorism is the systematic use of violence to create public fear.
As a method of intimidation it is as old as mankind and will surely continue to be used as long as our species continues to exist.
It has been used for various types of causes, such as religious (eg. the Catholic Church with its Inquisition; Protestant powers such as Calvin in Geneva, the Puritans at Salem); commercial and criminal (eg. the Mafia); and political, by rebels, and revolutionaries, and adherents of diverse ideologies.
Whether terrorism is used by a small group like the Weather Underground or the Baader-Meinhof gang; a large group like the Provisional Irish Republican Army (IRA) in Northern Ireland and England, or Sendero Luminoso (Shining Path) in Peru; or a state like the Third Reich or the USSR, it is a method of instilling fear into many more people than it can directly attack so they or their rulers will do or not do what the terrorists want done or not done. That is why the attacks need to be random. Though you have done nothing personally to affront the terrorist organization doing its evil deeds in your corner of the world, you must be made to understand that their bomb could be in the bus you take to work or your child takes to school, and so could as easily kill or maim you or your child as anyone else.
The mentality behind terrorism is similar to the mentality of the racist. The users of the method target individuals indiscriminately because they “belong” to a group or class that the terrorists designate their enemy. You are a member of a political party that they oppose. You have a nationality they don’t like. You are a capitalist. You work for the “military-industrial complex”. Or you are one person in a national collective under a despotism that would keep you obedient.
Terrorism punishes the innocent. If a tyrant is killed, it is not terrorism; if his infant children are killed as “collateral damage”, it is.
Can the use of terrorism ever be justified? It is the moral question every terrorist needs to answer for himself. He alone makes the decision to do the deed. It is no excuse that he is obeying others. He – or she – is still responsible even under threat. The exception of course is when – for instance – a person is forcibly strapped into a suicide vest, deposited in a public place, and is detonated without taking any action himself. Islamic terrorists use children in this way.
An argument is sometimes put forward by persons – usually academics – who want, for various and usually disgraceful reasons, to discourage action against this or that terrorist organization, that the number of people who are hurt or killed in a specified period by terrorist action is smaller than the number killed by (eg) car accidents in the same time span. But an accident is by definition nobody’s fault. Because terrorism is a moral question, depending on people making decisions and implementing them, such comparisons are not only invalid but invidious.
What of war? Does that not harm and kill many innocents? Of course. But when war happens, all normal constraints are abandoned and the moral questions are changed. Was Churchill right to have Dresden bombed flat? Was America right to drop nuclear bombs on Nagasaki and Hiroshima? If more people were saved by these acts which brought war to an end than were hurt and killed by the actions themselves, were they good or were they evil?
The morality of war is open to argument. But clear acts of terrorism can be carried out within wars, and need to be unequivocally condemned. For instance, in World War Two, the Germans massacred all the inhabitants (642), men women and children, of the village of Oradour-sur-Glane on June 10, 1944, in reprisal for one of their officers being captured and held there. It was plainly a “war crime”, and plainly an act of terrorism.
What – it is sometimes asked – of random violence used against a conqueror occupying your country in war? Is that terrorism? And even if it is, is it not justified? Not an easy question to answer. The best one can do to decide the morality of (eg) blowing up a train that is bringing enemy reinforcements into your country but also bearing some of your fellow countrymen, is to ask whether the action would make most of your fellow countrymen feel more safe or more threatened. If the answer is “more safe”, it could be argued that the act was therefore justified. But much depends on what an action is, whom it kills and in what way; on the circumstances of the occupation, and on whether it is oppressive or comparatively benign. In each case, judgment is needed.
Communism and Islam are inherently terrorist ideologies.
Jillian Becker March 18, 2015
(Jillian Becker was director of the London-based Institute for the Study of Terrorism 1985-1990)
This article in praise of Capitalism was first posted in 2011. We reproduce it now because our recent post Communism is secular Christianity (January 14, 2015) reminded us of it.
It is human nature to be selfish. If we weren’t selfish we wouldn’t survive. If we didn’t eat when we were hungry, warm ourselves when we were cold, seek cures for our illnesses, defend ourselves (and our children and our life-sustaining property), we’d die out pretty damn quick. Or rather, we would never have come into existence as a species at all.
We are most of us capable of sympathy with others, and we often willingly give away a thing we own to another person. Some are altruistic. A few will even give up their lives to save the lives of others. Nevertheless, we are all naturally and necessarily selfish.
Christianity and Communism require human nature to change. As it can’t, Christianity’s commandments to love our enemies and forgive those who do us harm turn many a person of good will and high aspiration into a hypocrite if not a corpse. Communist theorists have never settled the question of whether human nature must change so that the Revolution can take place, or whether the Revolution must take place in order for human nature to change. Of course it will never change, but there’s no stopping the collectivist dolts arguing about it.
Capitalism works well because it is in tune with our nature. Adam Smith called it “the natural order of liberty”. Everyone selfishly desires to provide for his needs. To pay for what he wants from others – services and goods – he has to provide something that others will pay him for. Millions do it, and the result is prosperity. Capitalism is an abstract machine most beautiful to behold in the wonder of its workings. When individuals have the incentive to achieve, acquire, and enjoy something for themselves, they’ll go to great lengths to afford it. They’ll compete with each other to provide what others want, toil to make it the better product, and set the price of it lower. The best is made available at the least cost. Everyone is both a taker and a giver, and everyone benefits. True, not everyone’s effort always succeeds, but nothing stops anyone from trying again.
Of course capitalism isn’t a remedy for every ill and discontent. But a capitalist society offers the best chance to an individual to make the best of his condition – being alive – which presents him with a tough challenge – to stay alive for a few score years, and make those years as good as his energy, cunning, and adaptability to conditions outside of his control (plus his statistically likely share of luck), can help them to be.
In a capitalist society no one has a fixed place, whether below, in the middle, or on top. A person can rise, sink, or stay. A truly capitalist society is necessarily a free society in which no one is prevented, by some ruler or ruling clique, from bettering his lot, striving, succeeding, or failing.
Capitalism is the enemy of that God of whom all the children in the British Empire used to sing at morning prayers in school assemblies before the Second World War:
All things bright and beautiful,
All creatures great and small;
All things wise and wonderful,
The Lord God made them all. …
The rich man in his castle,
The poor man at his gate,
He made them high and lowly,
He ordered their estate.
The children were being taught to be content with everything as it was, trusting that God the ruler up there, all wise, permanent and unchallengeable had ordained how everyone had his fixed place and should stay in it, and because He had ordained it, it must be perfect. The recognition that such a God was an indefensible authoritarian, a whim-driven cosmic dictator, an unjust and arrogant tyrant, came – perhaps unconsciously – to the choosers of Anglican hymns only after a few of the earth’s dictators had been trounced in a prolonged and terrible blood-letting.
But then Socialists took over from God. They decided what was best for humanity. They established the Welfare State. No rich men in castles, no poor men at gates. The State would provide every citizen with depressing accommodation, dull food, health care if he were judged worthy of being kept alive, indoctrination in schools. Though the Socialist State is a slave society, the citizens are not called slaves but Social Security Recipients, National Health Patients, Students, Workers. The belief of their rulers is that they’ll be content because the State provides them with “everything”; they’ll be grateful for the food however poor, the unit in the tower block however depressing, the bed in the hospital however filthy, the indoctrination however boring. The great thing about it, to the collectivist mind, is they won’t have to strive to keep alive. And no one will have cause to pity or envy anyone else, since no one will have less or worse, or more or better – except of course the rulers up there, all wise, permanent and unchallengeable who ordain that everyone else has his fixed place. They reserve plenty, choice, comfort, luxury, information, and power to themselves.
The recognition that such a State is counter to the human instinct for freedom – call it “selfishness “ if you will – should have come to every sane adult the world over when the Soviet Empire crashed. The idea of Socialism should have died then. But if it did, it was only for a short time. Like the Christian God, it rose again, and lives now in the White House, an administration indefensibly authoritarian, whim-driven, unjust, and arrogant.
Selfish human nature with its instinct for liberty, its impelling desire to possess what is good for it materially and mentally, is the force that can and must defeat it.
The idea that compassion is the essence of morality, entered history – to become in time a significant ethical philosophy – with the teachings of St Paul.
St. Paul, the author of Christianity, preached to his converts that they must “love all”. How to do this was explained by the writers of the gospels. Forgive them if they harm you. Turn the other cheek. Love the sinner though you hate the sin. It was an ethos that preferred love to justice (in contradiction to Judaism which held justice to be the highest value).
St. Paul went to extreme lengths in explaining how a follower of “Christ Jesus” must conduct himself in relation to other people.
He must humble himself until he was no more in his own eyes than “the filth of the world, the scum, the muck that is scoured from things.” He must live for others, sacrifice himself for others, the only use of his life being for others. Not only every other individual, but the collective of mankind was of more value than the Christian’s own life. The plight of others is what matters, never your own predicament. Your only legitimate happiness must be a product of your giving and yielding to others.
So fanatically against self-consideration was St. Paul that his ideal Christian society was one in which there was no private property. Share all you have, he told his followers. And the reason he gave for this is particularly pertinent: So that you’ll all be equal in worldly possessions.
Disdain for private property, and the idealizing of equality also entered history with Christianity.
St. Paul went even further. You must be prepared to “present your bodies as a living sacrifice.” You must not be privileged above others. As a Christian you must renounce your individual wants, talents, aspirations to serve the collective. That way, you are buying the approval of “Christ Jesus”, by whose grace – and only by whose grace – you may be “saved” to live eternally with him. Yet all your efforts to be good according to Pauline precepts might not after all, however painstakingly pursued, buy you that ticket to heaven. And since God is all-knowing, your fate is pre-determined.
To the Christian, this life was only a time of preparation for eternity. What mattered for the Christian was what happened to his “soul” after his bodily death. Naturally, it became a cult of martyrdom. Christians took up their crosses to follow their Lord; joyfully sought crucifixion for themselves, or death in the lion’s mouth in the Roman arena. Some wore hairshirts. Some sat on the top of tall pillars for years. Some died for “Christ Jesus” in battle with followers of other faiths, or with rival claimants to the certain knowledge of Christian “truth”.
And while human life continues, the Church will be the only power on earth. Both the Catholic and Protestant churches became totalitarian tyrannies whose spies tirelessly sniffed out heretics to be tried, imprisoned, tortured and killed.
When would the eternal life of bliss – or agonizing punishment – begin? Immediately upon your own death, or at the end of time when “Christ Jesus” will judge the quick and the dead? The answer remains unsettled. But there will be an Apocalypse, a cataclysmic event which will change everything, marking the end of days, and then – if not before – the chosen will live happily ever after in the perfect state of heaven, ruled over by the all-powerful government of the Triune God; while the rejected burn in hell.
What other ideology claims the moral high ground by justifying its every deed by claiming it to be in the service of the weak, the exploited, the injured, the underdog? Or to put it another way, Justification by Compassion?
What other dogma has it that the plight of the collective matters above all? What other teaches that it is it the duty of the individual to sacrifice himself, his personal wants, talents, aspirations to the greater good of the collective?
In what other ideal society is private property abolished – “so that all will be equal in worldly possessions”? Who decries “privilege”? Who holds equality as the highest ideal?
In the name of what political orthodoxy were totalitarian tyrannies established whose spies ceaselessly sniffed out heretics to be tried, imprisoned, tortured and killed?
Where do we find revered texts predicting a cataclysmic event that will change everything, after which the chosen will live happily ever after in a perfect state, under the rule of an all-powerful government, while the rejected will be excluded, condemned, punished, and destroyed?
The answer is Communism, learnt from the unquestionable authority of Karl Marx.
Marxist Communism insists that the only power must be the Communist Party.
It predicts an inevitable Revolution as its all-transforming Apocalypse. After the Revolution the faithful – those whom the Communist Party spares – will live happily ever after in a perfect Communist state.
While Communism posits no divinities, it declares that something superior to man’s will determines what must inevitably happen – an hypostasis named History.
It rejects the notions of a supernatural authority and a non-material existence. But the rest of Marxist Communism’s essential doctrine is derived from only one source – Christianity. Though neither Marx nor any of his apostles seem to have been aware of it.
The current head of the Pauline Christian Catholic Church, Pope Francis, has tackled this subject.
AP reports (January 11, 2015):
Pope Francis is insisting that his concern for the poor and critique of the global economic system isn’t some novel, communist-inspired ideology but rather the original and core “touchstone” of the Christian faith.
He is right about that. Communism is inspired by Christianity, not Christianity by Communism.
Some U.S. conservatives have branded the first Latin American pope a Marxist for his frequent critiques of consumerism and focus on a church “that is poor and for the poor”. But in an interview contained in a new book, Francis explains that his message is rooted in the Gospel and has been echoed by church fathers since Christianity’s first centuries.
Again, he is right.
“The Gospel does not condemn the wealthy, but the idolatry of wealth, the idolatry that makes people indifferent to the call of the poor,” Francis says in This Economy Kills, a study of the pope’s economic and social teachings. …
Wrong. Early Christianity did condemn the wealthy. The Gospel of Luke, for instance, tells a story to make that very point.
Specifically, Francis summarized a verse from the Gospel of Matthew which is the essential mission statement of his papacy: “I was hungry, I was thirsty, I was in prison, I was sick, I was naked and you helped me, clothed me, visited me, took care of me.”
And overlooked the question why “I” was in prison.
“Caring for our neighbor, for those who are poor, who suffer in body and soul, for those who are in need: this is the touchstone. Is it pauperism? No. It is the Gospel.”
He cites church fathers dating to St. Ambrose and St. John Chrysostom as expressing the same concerns, and noted somewhat wryly that if he had said the same “some would accuse me of giving a Marxist homily”.
Well recognized! Though I cannot resist mentioning in passing that the two saints, Ambrose and John Chrysostom, whom he cites as being especially zealous about caring for the suffering, did not extend their compassion to everyone, they being among the most vicious preachers against the Jews in all history.
How interesting it is that the Pope felt moved to say, not that Marxism and Christianity are different, but merely that of the two similar ideologies, Christianity came first.
To be compassionate is not of course morally wrong. But as a cause so high that in its name human lives may be sacrificed, moral superiority hypocritically claimed, a monopoly of power be instituted, and the unique possession of Truth asserted, it is hideous.
And hideous is the history of both Christianity and its daughter Communism.
Afterword on Charity:
The “first” letter of St. Paul “to the Corinthians”, chapter 13, is a rather good poem declaring love, or charity, to be the highest virtue. “Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. … And now abideth faith, hope, charity, these three; but the greatest of these is charity.” Whether the poet meant “love” or “charity” has been a bone of contention in Christendom. William Tyndale was sentenced to be burnt at the stake by the Church of Infinite Compassion for translating it with the one word rather than the other.
As an aside, I don’t believe that St Paul was the author of the chapter. It is far too well written to be from the pen of such a clumsy writer as he was. For an example of his poor writing, see his authenticated letter to the Romans.
But what of charity – regarded by Christians as love in practice? Though I am not against it, I do not see it as a great virtue. It is no solution for poverty – just prolongs it.
I do think charity is preferable to Communism/Socialism as a means of redistributing money from those who have earned it to those who have not, private enterprise always being preferable to government control.
But still it is unjust.
To give it is very satisfying to the ego. And contrary to Christian dogma, there’s nothing wrong with self-indulgence.
But as self-advertisement it is repulsive.
Ideally, charity would be practiced only by consenting adults in private.
Jillian Becker January 14, 2015
1. Love one another, love all. 1 Thess.4:9 , Rom.13:8, 1 Cor 13. All quotation is from the King James Version of the New Testament.
2. 1 Cor.4:13
3. 2 Cor 8:14
5. Become the lowest of the low. Phili.2:3; Let us abase ourselves; be fools; 1 Cor.4:10; Be humble, and associate with the lowly. Rom.12:16; Do only the most menial work for a living. 1 Thess.4:11,1 Cor.4:12; Bear affliction – persecution, injustice – with patience. Rom.12:12-14, even with joy. 1 Thess.5:16,18
6. It is well documented that numerous loyal members of the the Communist Party, in the USSR and its satellite states, were persuaded by the Party to let it kill them for the sake of the Party. An interesting account in English of how the Communist Party thus devoured its own is Under a Cruel Star by Heda Margolius Kovály, whose husband Rudolf Margolius was a martyr to the greater, humaner, compassionate cause in Communist Czechoslovakia.
7. Luke 16:19-31
8. 379 A.D. Vicious writing by St. John Chrysostom and St. Ambrose in Milan who said: “The Jews are the most worthless of all men. They are lecherous, greedy, rapacious. They are perfidious murderers of Christ. They worship the Devil. Their religion is a sickness. The Jews are the odious assassins of Christ and for killing God there is no expiation possible, no indulgence or pardon. Christians may never cease vengeance, and the Jew must live in servitude forever. God always hated the Jews. It is essential that all Christians hate them.” He was called the Bishop with the Golden Tongue. St. Ambrose, Bishop of the Church offered to burn the synagogue himself. St. John Chrysostom’s Homilies against the Jews may be found here.
9. eg. of St. Paul’s confused thinking and poor writing, Rom. 5:12-18: “12 Wherefore, as by one man sin entered into the world, and death by sin; and so death passed upon all men, for that all have sinned: 13 (For until the law sin was in the world: but sin is not imputed when there is no law. 14 Nevertheless death reigned from Adam to Moses, even over them that had not sinned after the similitude of Adam’s transgression, who is the figure of him that was to come. 15 But not as the offense, so also is the free gift. For if through the offence of one many be dead, much more the grace of God, and the gift by grace, which is by one man, Jesus Christ, hath abounded unto many. 16 And not as it was by one that sinned, so is the gift: for the judgment was by one to condemnation, but the free gift is of many offenses unto justification. 17 For if by one man’s offense death reigned by one; much more they which receive abundance of grace and of the gift of righteousness shall reign in life by one, Jesus Christ.) 18 Therefore as by the offense of one judgment came upon all men to condemnation; even so by the righteousness of one the free gift came upon all men unto justification of life.”
Today we post under Pages (listed at the top of our margin), essay number 12 in Part Two of the series titled The Darkness of This World, by Jillian Becker.
It continues the discussion of French writers whose works are concerned with Evil, praise it, and argue passionately that it should be done.
The title of this essay is The French Pandemonium (Two). Its subjects are the twentieth century writers Georges Bataille, and – to a lesser extent – André Breton.
Here is part of the essay:
Of all the cultivators of Evil in twentieth century France, none was so devout, so persistent, or plunged so deep into moral and material muck as Georges Bataille. He hungered and lusted for Evil. He was a coprophiliac, and a necrophiliac – committing, by his own confession or boast, an incestuous sexual act, in a state of “arousal to the limit”, upon his mother’s corpse in the moments after her death.
Bataille wrote that human beings, as a species, should move towards “an ever more shameless awareness of the erotic bond that links them to death, to cadavers, and to horrible physical pain.”
He was fascinated by the filthy, the stinking; by secretions, excretions, exudations; by things discarded, damaged, abandoned. “Bataille,” wrote one of his appreciators, “displayed a quasi-religious veneration toward objects and acts that, according to the mores of bourgeois convention, were targets of opprobrium … During the ‘30s, Bataille’s ‘literary’ activities centered on developing a theory of ‘base matter’, items and effluvia that remained impervious to assimilation by the all-consuming maw of bourgeois cultural respectability: feces, menstrual blood, cadavers, the baboon’s brightly colored anus, and so forth.”
But Bataille’s veneration of the disgusting was not just “quasi-religious” – it was intensely religious. It was Gnostic . This the admiring writer goes on to demonstrate, though without referring to the Gnostic precedent. He writes: “Herein lie the affinities between Bataille’s world view and the discourse of ‘negative theology’ or redemption through sin. … The duality between the ‘sacred’ and the ‘profane’ obsessed him, but the habitual signs were reversed. He elevated acts of profanation or desecration to epiphanies: singular mystical moments of Oneness with the All. … For Bataille … the act of willfully violating taboos offered privileged access to the holy.”
Raised in a non-believing family, young Georges converted to Catholicism when he was seventeen, and even spent a year in a seminary studying to be a priest. When he became a priest of blasphemy, or holy sinner, he retained all the self-flagellating passion, all the pious devotion and aura of sanctity of the Catholic ecclesiastic. He remained throughout his adult life shut mentally in the box of religion with its atmosphere of incense and sulfur, its fixation on blood, pain, death and sin.
He contended that what was missing in ordinary modern life, what society lacked for full satisfaction, was the “expression of savage needs” that “subsist only at the limits of horror”. And what were the “limits of horror” in Bataille’s dream? Nothing less than ritual human sacrifice. The combination of agony, death, and religious rite was very much to his taste. He wrote: “Human sacrifice is loftier than any other – not in the sense that it is crueler than any other, but because it is close to the only sacrifice without trickery, which can only be the ecstatic loss of oneself.”
His best of all horrors was “ecstatic loss of the self” by choice: voluntary human sacrifice. He wrote: “The movement that pushes a man to give himself (in other words, to destroy himself) completely, so that a bloody death ensues, can only be compared, in its irresistible and hideous nature, to the blinding flashes of lightning that transform the most withering storm into transports of joy.” Oh, the intense joy of dying in excruciating pain! He and others in his circle formed a secret society which was to launch itself with a beheading. Every member was willing to be the sacrificial victim and have his head sawn off – but none would consent to be the executioner.
The external movement that he would have push him to transports of joy was Communism. …
You can find all of it here.
We continue the series of short essays by Jillian Becker posted on our Pages section under the general title of The Darkness of This World.
Here, in full, is the tenth essay, starting Part Two of the series.
It focuses on Russia in the late nineteenth and early twentieth centuries; the nihilistic mood that prevailed there among discontented intellectuals; the decadence of the monarchy and the Orthodox Church; and it outlines the astonishing story of the mesmerizing, disgusting, scandalous mystic and lecher Rasputin, a peasant who rose to wield imperial power – the enormous autocratic power that history had reposed in the weak hands of the last Tsar, Nicholas II.
Romanticism – which grew in opposition to Reason from the very beginning of the Enlightenment, their common parent – is a kind of religion.
In certain essential ways it most closely resembles the Gnostic creeds of early and medieval Christianity. Both Romantics and Gnostics depend on feeling and intuition for their “truth”, which stands in both cases in opposition to their culture’s norms. To rebel against conventional morality, they choose evil. Both rationalize their perversity as the means to a higher good. For the Gnostics good lies in the heavens after life on earth is over; for the Romantics it lies in this life on this earth, just over the horizon, beyond the next revolution. Whether up there, or over there, both promise paradise.
In actuality, Romanticism led the way not to an earthly paradise but to earthly hells.
If Romanticism could be said to have a deity, it was “the Devil”. The Romantic imagination clung to him long after “God” had faded away. Germany “sold its soul” to him. Entranced by a Wagnerian fantasy of brutality, violence, war, conquest, “blood and beauty”, Nazi Germany chose evil, rode the storm triumphantly for a time, fulfilled its romantic dream in atrocity, and ended in flames and irreparable moral degradation.
Karl Marx prayed in romantic poetry to be empowered by the Devil, and metaphorically speaking his prayer was granted when Marxists took power after his death and tormented and destroyed millions of hapless victims. The Russian Bolsheviks were the first tyrants to govern in the name of the creed that bears his name. But they were not the first (or last) tyrants to govern Russia, nor the first Russians to choose evil.
The Enlightenment did not penetrate far into Russia. Even by the late nineteenth century, the Russian people were still deeply religious and the church was still immensely powerful. But a weariness with the old order, a romantic pessimism was spreading through the vast anachronism that was Tsarist Russia.
Dostoyevsky’s novel The Possessed (or The Devils or Demons), was published in 1872, eleven years before Karl Marx’s died. It has a cast of intellectual nihilist terrorists who typify the Romantic rebel in late nineteenth century Russia. They are against everything. Patronized, courted, and encouraged for the thrill of their scandalous philosophy of existential despair and malicious criminality by a stupid Governor’s wife – another type of civilization’s decline – they transgress all moral and conventional boundaries and eventually murder for the sake of murdering, and literally set the town on fire. One of them commits suicide and allows the others to blame him for their crimes, leaving an untrue note that he is the culprit. Why? Because nothing matters. Nothing. The man they look to as their leader, Nicolai Stavrogin, is the son of a wealthy landowner, an eccentric widow. She enjoys a protracted and chaste love affair of the mind with a once-daring but now perfectly tame intellectual rebel who has long since outlived his small fame. Young Stavrogin – handsome, rich, and privileged – is the rebel du jour, reckless and unpredictable. At his mildest, we learn when we meet him, he has publicly indulged his evil impulses by making defiant gestures against polite custom, saying and doing irrational things – such as biting a distinguished gentleman’s ear – deliberately to outrage society. In secret he has done far worse. He has committed a terrible crime that we learn about eventually: he raped a child, and the girl killed herself. Then, secretly again, he married a poor despised ill-used madwoman. Why? In penance? Out of compassion? Is he a saint as well as a sinner? Or is it a bizarre joke? Dostoyevsky perfectly describes what Stavrogin is doing: he is “living sarcastically”.
Dostoyevsky believed Russia was sick with nihilism and despair, and could be saved only by a return to Orthodox Christianity. But the sun was going down on “Holy Russia”. The Orthodox Church was no longer capable – if ever it had been – of distinguishing between its saints and its sinners.
In Orthodox eyes, which of the two – saint or sinner – was Grigori Rasputin, the man who more than any other single individual hastened Tsarist Russia into extinction?
Rasputin was a peasant monk who the royal family of Russia needed to believe was a mystic healer. They put all their hopes in him to cure the Tsarevich of hemophilia, the bleeding disease that threatened the life of the young heir to the throne, the only son of the Tsar. The peasant monk might also have been (it was both alleged and denied) a member of the Khlysty, a Gnostic sect that had arisen in the 17th century and lasted into the 20th century, to be ended along with everything else by the Communist revolution. The Khlysty believed in direct (“intuitive”) knowledge of the divine and redemption through sin.
Whether or not as a member of the Khlysty, Rasputin convinced numerous highborn ladies that they could be redeemed through sin. Their lust being sanctioned by so exciting a promise, they stripped naked for him, begged for his sexual attentions, and – according to some colorful accounts – would even lick his greasy fingers clean after he had been eating with his hands at the table of the Tsar. What is well attested is that the occult was in vogue in high society, and some of its luminaries seriously expected – because they deeply longed for – miracles. Rasputin was their master; to them he was the Devil himself, laughing among them.
His own motive in performing his part may only have been the simple one of enjoying himself. By many accounts he fed gluttonously, drank copiously, and copulated promiscuously.
The Tsarina could not live without him. She did as he told her. And as she depended too much on her “holy healer”, the Tsar depended too much on her. By her insistence, the Tsar took into his own hands the direction of his country’s forces in the Great War, and he did not do it well. Persons in high places became concerned that Russia was being governed and misgoverned by the “mad monk” – and it was not too much of an exaggeration. He apparently had power even over the Holy Synod, though he had never been ordained a priest. It seemed that a lascivious peasant was working his will over church and state. The Tsar refused to send him away. Nothing could dislodge him.
Plots were hatched to kill him. And finally four would-be assassins – the Grand Duke Dmitri Romanov and Prince Felix Yusupov, along with a member of the Duma and an army officer – set about murdering him in the basement of the Yusupov palace on December 17, 1916; first with poison – but he stayed alive; then with a gun, shooting him many times – but still he did not die; then stabbing him and beating him on the head with a truncheon. Finally they dropped him, probably dead but by some accounts still alive, over a bridge and down through the ice of the River Niva. So ended his real-life performance as a “holy sinner”, or magus.
It had been a magnificent mockery – of religion, power, aristocracy, and morals – born of a brilliant, if instinctive, perception that the stupidity of the great laid them open to exploitation by bold native cunning. Had the Romanovs, in particular the Tsarina, and her noble ladies avid for sin, not been mystics themselves, not believed in miracles, they would not have fallen under Rasputin’s spell. The Orthodox Church itself – or part of it – romanticized mystic charlatans of his kind. Both the institutions of monarchy and church had become rotten stumps ready to be kicked over.
And kicked over they soon were. The downfall of Tsarist Russia began on April 16, 1917, just four months after Rasputin’s death, when Lenin returned from exile and began the process that brought the Russians under Marxian Communism.
Jillian Becker September 20, 2014