Astral Codex Ten

aristocracy

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aristocracy

Article

aristocracy is a recurring concept in the Astral Codex Ten archive, appearing 2 times across 2 issues between May 06, 2021 and June 03, 2022. The archive places it in contexts such as “In ancient Greece, I think you’d call these people the aristocracy or the oligarchs”; “Socioeconomic upheaval of this magnitude could pave the way for the return of aristocracy”. It most often appears alongside Catholic Church, Italy, Rome.

Metadata

  • Category: Concepts
  • Mention count: 2
  • Issue count: 2
  • First seen: May 06, 2021
  • Last seen: June 03, 2022

Appears In

Source Context

Recovered passages from the original issue text. When the raw archive preserved outbound links inside the source passage, they are listed directly under the quote.

Your Book Review: Through The Eye Of A Needle
May 06, 2021 · Original source
By the 4th century AD, the Respublica (Brown refers to the imperial state as “Respublica” which I think is a beautifully romantic word, especially when it referred to a state that no longer exists) laid a heavy tax burned on the empire. Consequently, there were two sources of income for the wealthy: 1) Agricultural income from land they owned or rent on that land, 2) Imperial supply or service, paid for in the emperor’s new gold coins. The income of most wealthy Romans was a mix of those two sources. The imperial service was a new phenomenon in the Respublica. “In many ways, the fourth-century age of gold had been unusual. An active imperial court had created a service aristocracy that was more fluid and more tied to the imperial center than had ever been the case previously.”
Speculation on Curiales. This book made me realize the key role the “curiales” have played in almost all human history. In ancient Greece, I think you’d call these people the aristocracy or the oligarchs. They were always competing with the democrats for power. In Steinbeck’s “The Winter of Our Discontent”, the protagonist obsesses with getting back into the local town’s ruling aristocracy. That novel is set in the 1950s northeastern United States. Or Mr. Potter, the banker who owns half the town in “It’s a Wonderful Life.” What happened to those people? Are most cities and towns still run by a handful of old aristocratic families and I somehow have never noticed? Did something dramatic change in western society over the past 70 odd years? Is this the first time in history every little town isn’t run by a gaggle of wealthy families? I grew up in small town New England and there are definitely traces of old Brahmin aristocrats all over the place. They don’t seem to exist in the same way anymore.
Gradually, the senatorial aristocracy in Italy grew poorer. They no longer had access to their overseas landholdings. Meanwhile, the Christian church grew richer and more powerful as it received donations of land. By 535 AD, this relatively prosperous, post-Respublica order in Italy came crashing down. The eastern Roman empire, led by emperor Justinian, launched a terrible invasion of Gothic Italy. By the end of Justinian’s wars, the remaining wealth of the senatorial elite had been mostly destroyed. “The church became the only great landowner left standing in Italy.”
Your Book Review: The Castrato
June 03, 2022 · Original source
Now that my conscious is clear, let’s turn to the other end of the spectrum: those rock star castrati like Farinelli who brushed shoulders with the upper crust of society. Feldman spends a lot of time in the book analyzing the connection between the castrati and the aristocracy. In one sense, it’s not very surprising that the rich and powerful wanted to associate with famous musicians—it’s the same thing we see today. It went far beyond that however; in many cases castrati took on a unique symbolic role in serving as a charismatic proxy of royal power. To understand how and why this was so, we should note something that’s only been mentioned in passing: the greatest castrati rose to fame because of their performances in operas, and were thus not just singers but also actors who commonly portrayed kings, princes, and military heroes in their starring roles. Furthermore, all of this was happening at a time (the 18th century) when the monarchical order was starting to come under suspicion and a new insecurity was gripping rulers across Europe. Against this backdrop, we can see why royals gravitated towards the castrati—the fame and adulation that they garnered for their portrayals of heroic kings was something that was increasingly elusive for actual not-so-heroic kings. As they did for the Catholic church, castrati served as a kind of aesthetic-emotional technology, one that made royal power “immediate, intimate, empathetic, charming, and palpable”.
Socioeconomic upheaval of this magnitude could pave the way for the return of aristocracy, likely another key factor for the potential development of a castrati-like practice. In this neo-feudalist future, we would once again see large numbers of nobles who are, for all intents and purposes, above the law and public reproach. As in the past, these new kings and queens and dukes and duchesses could use their influence and wealth to sponsor transhuman programs that draw “volunteers” from their peasantry. Whether these programs will initially produce transhumans for entertainment (art, sport) or for labor (servants, guards), it seems likely that the line will eventually become blurred—for example, uber-athletes produced for athletic competition also coming to serve as soldiers (or vice versa). The historical and fictional trope of the court mage (e.g. Mentats in Dune, any number of sorcerers/mystics who have served kings such as Merlin, John Dee, or Rasputin) suggests that rulers may seek out (or create) individuals who have undergone some kind of transformation that gives them unique mental abilities. If these cognitively enhanced individuals offer their rulers a decisive strategic advantage in military or politics, arms race dynamics could ensue and demand for “court mages” could soar.
Inline links: neo-feudalist, trope of the court mage, John Dee