Essays on Perennial Philosophy

ACCORDING to the famous English author, Aldous Huxley (1894–1963), seekers of the Perennial Philosophy are not interested in the social environment for “its progressiveness or non-progressiveness (whatever those terms may mean), but the degree to which it helps or hinders individuals in their advance towards man’s final end.” The philosophia perennis, to use the Latin term, has its roots in the Neoplatonist ideas of Greek thinkers such as Plotinus (204/5–270), Porphyry (234–305) and Iamblichus (245–325). Undergoing something of a revival in the first half of the twentieth century, particularly under the auspices of the Traditionalist School, this belief in an Absolute whose primordial roots can be located within many of the world’s main religions has fascinated men such as Ananda Coomaraswamy (1877-1947), René Guénon (1886–1951), Julius Evola (1898–1974) and Frithjof Schuon (1907–1998) for many centuries. The idea of a timeless spirituality which unites all metaphysical beliefs at the most fundamental level does not involve the application of an insipid ecumenicalism as a means to achieve the creation of a syncretic global religion, on the contrary, as Mircea Eliade (1907–1986) explains people “acquire their reality, their identity, only to the extent of their participation in a transcendent reality.” The importance, therefore, lies in making a crucial distinction between the Sacred and the Profane. In this engaging new study, a group of writers and poets – both new and established – examine the ramifications of the Perennial Philosophy in light of the continuing encroachment of the modern world. Chapters include Anti-Tradition in the Age of Iron (Troy Southgate), The Eternal Strife Between the Earth and the World: A Collision Between the Real and the Illusory (Von Sanngetall), Ode to Evola (Richard J. Levy), Eliade on Perennial Religion and Time (K. R. Bolton), The Primordial and the Consequential: Alfred North Whitehead and the Idea of a Dipolar God (Troy Southgate), Jordan B. Peterson: Challenging Postmodernism by Channelling Modernity (Arslan Akhtar), The Illusion of Democracy (Troy Southgate), The Christ Myth as a Manifestation of Perennialism in Antiquity (Keith Preston), What’s Past is Poetry: Poetic Wisdom in History (Julio Cesar Pino), Flame Without Fire: A Brief Exposition of the Flamma Non Urens (Troy Southgate), Perennial Philosophy and Christian Myths and Mysticism (J. M. Franco), Friedrich Schelling: Herald of the Philosophia Perennis (Troy Southgate) and Blessed Mother Goddess: Syncretism in Mariology and Marian Veneration Cults (Sean Jobst).

Troy Southgate

A nuclear Eruption

The last human era of a rampant technological nihilism. The Acéphalic Svn erupts and its Sacred nuclear core prepares Eorthe for the Age of Brutalism. Heidegger did forecast a New Beginning, a Return of The Chtonic Gods and these Dark Gods are furious. Be prepared and meditate on your Death. 333!

Von Sanngetall, 129 yf

Those Hollow Trunks

Autumn walks in 2017. As a witness of the Truth being covered. Once trees now they stand silently and Acéphalically waiting for the Return. An eternal cyclical process mankind has lost touch with. I heard them whispering mysteries unknown to us, last men. Our ‘languages’ will at one point stop being spoken but the Sacred Silence and the Light that shines from within those hollow tree trunks is Perennial.

Von Sanngetall, 129 yf

The Worker’s shoes

a-pair-of-shoes-hero1‘The shoes’ by Vincent van Gogh

One of the paintings Heidegger wrote about is Van Gogh’s painting of a pair of shoes. In itself nothing particular, nothing sinister, nothing revealing, but the gnostic essence which is laid bare by Heidegger reveals a hidden side of this ‘simple’ painting. To Heidegger art reveals what a being ‘really’ or ‘in essence’ is stands for.

Heidegger regards these shoes as a tool, but one that seems unused, abandoned in an indefinite space. Heidegger notices that the shoes do not carry any traces of earth: “Just a couple of peasant’s shoes. And still.”

Through this painting Heidegger describes the essence of truth as an “unconcealedness”, something that has been dis-covered so to speak. The etymology of the English word ‘discover’ shows this most beautifully: a ‘cover’ has been taken away. The truth brings to light what was originally hidden, covered, veiled. To loose the truth means that everything will be hidden once again.

Heidegger used the painting of the shoes to talk about truth, about a particular event of revealing. Heidegger describes most poetically that from within the “dark opening” of the used shoe the “effort of labor” stares at us. The shoe as a tool is not something that should be cast away, as it has helped the laborer, the worker, the farmer during his hard and honest work on the field. Heidegger describes how “the wet and saturated earth sticks to the leather”. In this shoe “resounds the silent call of the earth” and how the earth has given us the grain. “The shoe (therefore) belongs to the earth and it is protected in the world of the farmer.”

The connexion with the Earth/Eorthe is a very important and most symbolic one. The Conservative Revolution, to which Heidegger belonged, was well aware of the gnostic and sacred importance of the Earth as a major force that is the exact opposite to the Enlightenment and the Industrial Revolution. These events have ‘centralized’ man’s position (in disadvantage of the Sacred) and his dependence on technology. One could say: the ultimate phase of the Kali Yuga in which man is alienated from the mystical origins of the Earth and started to disrespect the earth and its raw materials by turning these into mere instruments of profit. Today, only real craftsmen respect the genuine truth within raw materials such as the earth, wood, water, leather and so on. From within those raw materials the work of art presences itself and the craftsman, like Jünger’s worker-soldier, merely channels these hidden forces.  

A true craftsman presenced these shoes. They do not have a particular shape, they are dark and, as Heidegger notices, “the darkness shines from within them”. Their connexion with the Earth is therefore an acausal one: an acéphalic (beyond human and limited reason) resonance from das Heilige (Hölderlin), the abysmal Sacred (Bataille). The shoes are human tools but these ‘worker’ shoes form a connexion to a deeper and more traditional world. The same applies to the combat shoes of soldiers, the sandals of monks and so on. Such men transform and presence acausal forces, and their labor, their work, their struggle brings the Truth to light.

This cthonic resonance of the shoes brings us to the Greek pantheon of Dark Gods (Dionysos, Demeter,…) who reside in the Sphere of the Hidden, the Acausal, but which can be invoked by adepts, initiates of a Traditional Weltanschauung. A Weltanschauung which criticizes the modern world and its lack of the Sacred. Sinister traditions like the ONA’s, David Myatt’s Weltanschauung, the Conservative Revolution, the Traditionalists, Radical Paganism, the New Right all share this criticism, and their ‘acéphalic mission’ to bring forward the eternal essence of the Truth.

Their initiates do not simply see a used pair of shoes, but they all can hear its call which descends from the Greeks and rises up to the present Völkisch communities and those to come. I invite you to look at these shoes differently as well!

Von Sanngetall, 129 yf