Astral Codex Ten

kabbalah

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kabbalah

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kabbalah is a recurring concept in the Astral Codex Ten archive, appearing 2 times across 2 issues between September 29, 2022 and July 28, 2023. The archive places it in contexts such as “According to kabbalah , it is the letter of impurity and unholiness”; “he’d discuss the Kabbalah with Gershom Sholem”. It most often appears alongside 1 Kings 10-11, 1923 Hyperinflation, 2008 Democratic National Convention.

Metadata

  • Category: Concepts
  • Mention count: 2
  • Issue count: 2
  • First seen: September 29, 2022
  • Last seen: July 28, 2023

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.

Universe-Hopping Through Substack
September 29, 2022 · Original source
I feel like this is weak. If I were doing this, I’d point out that 1 Kings 10-11 describes the moral decline of King Solomon. His main offenses are overtaxing the people, taking too many heathen women into his harem, and overspending on luxuries - including monkeys from far-off Tarshish. God gets angry at all of this and curses him to have his kingdom fall in the next generation. Surely monkeys + sexual profligacy = curse, plus the impending fall of the kingdom, forms a better “monkeypox means the End Times” argument than the “zoonotic disease” drivel. Also, Solomon’s excessive taxes come out to exactly 666 talents of gold - coincidence? But also: the Hebrew letter qoph means “monkey” - both symbolically, in the sense that its glyph is supposed to represent a monkey with a tail, and literally, in the sense that the word “qoph” also means “monkey” in Hebrew. According to kabbalah, it is the letter of impurity and unholiness. Its gematria value is 100, representing the 100 people killed by plague every day due to David offending God. But qoph is also the first letter of the Hebrew word keitz, meaning the end of time! I really feel like you could make a much stronger case here!
Inline links: means “monkey”, According to kabbalah
Your Book Review: On the Marble Cliffs
July 28, 2023 · Original source
His emotional range spans only from a kind of tired nostalgia to the reckless joy of intoxication, punctuated by his most prized feeling by far, the gleefully murderous “bloodthirst” of mortal combat. So everyone who had read some Jünger, which at the time of publication would likely include most of the German population and definitely most of the Nazis, could see right through the facade of fiction. It is an obvious conceit that made the book just barely publishable, in a time and place where saying outright that the Nazis were disgusting savages would have gotten everyone involved a headshot. After 1945, Jünger did admit that the book was (also) a commentary on the political reality of its time. And that he knew perfectly well that in publishing this “fiction” he was playing with his life. And still he got it published, uncensored, in Germany in 1939, just before Hitler started the second World War. Today the most widely accepted history of the subject is that Jünger was only saved from a grisly fate by the personal intervention of Hitler himself, who loved “Storm of Steel” and presumably wouldn't have liked to admit that his favorite author utterly despised him. And it would have been very tempting to just not admit that, because before the Nazis came to power, Jünger had sympathized with them, although he never counted himself among them. Hitler had sent Jünger fan letters; the responses have unfortunately been lost. Jünger’s many political rants in the 1920s do contain several explicit endorsements of the strength of the Nazis and of their value as allies to Jünger’s vague and contradictory nationalist cause. By the time he wrote the Marble Cliffs, he had stopped endorsing them. But this history made it easy for the Nazis to publicly pretend he had just written a fictional novella, or maybe he was talking about Bolshevism or something, but surely he didn’t mean them. It was an Emperor’s New Clothes situation, where nobody dared to say out loud what everyone could see. Although additional reprints were verboten in 1942, the excuse of a lack of paper due to the war was perfectly plausible and didn’t betray the discomfort with the content that nevertheless is well-documented to have been present among the Nazi ranks. All of that is to say we can safely dispense with the charade entirely and accept that this book is about the Nazis. It makes general points on the nature and fate of tyranny that do apply to Bolshevism, but the Nazis are the immediate and obvious instance of tyranny to which this book clearly reacts. And it is written by someone who had walked among the Nazis, had previously been friends with some of them, exchanged letters with many of the best-informed men especially in the military, and was perceptive enough for his opinions to deserve much of the confidence he states them with. Besides this conceit, the other concession to the political realities Jünger makes is that the book makes no mention of Jews. The world he is describing is fictional, but it is an amalgamation of European cultures that all had some Jews, so this absence is conspicuous. Obviously Jünger couldn't possibly have seen this book published if it depicted Jews in any way that wasn’t extremely negative. I guess he was unwilling to do that. In the 1920s, Jünger had ranted against “globalist” liberal Jews several times, and once even argued that one couldn't be both a Jew and a German. But he saw nothing wrong with being an orthodox Jew, openly admired Zionism, expressed in letters complete revulsion with Nazi antisemitism and had even publicly spoken out against the pseudoscientific racial theories of the Nazis. After writing this book, when serving as an officer again in France, Jünger went on to save a couple of French Jews from deportation and death, at moderate risk to his own life. Later he’d discuss the Kabbalah with Gershom Sholem, the brother of his childhood friend Werner Sholem. For these reasons, I imagine he did not see Jews negatively enough for the Nazis, and was too uncompromising to pretend that even his narrator did. I think this dilemma fully explains why there are no Jews in this book. In 1935, when Winston Churchill for example still publicly admired “the courage, the perseverance, and the vital force” of Adolf Hitler, Jünger claims to have already understood the bottomlessness of Hitler's depravity by noticing he was using the word “Vernichtung” (annihilation) way too much. He was remarkably right, years before most could see it, but even more remarkably his method of understanding was a poet's acute sense of word choice! And from then, even though he agreed with nationalist dictatorship as a goal and method, he distanced himself from National Socialism because he was disgusted with the vile character of the leader of this particular nationalist dictatorship. If that doesn't show you the peculiar kind of man Ernst Jünger was, I don't know what to tell you. The craft and the poetry You all know the wild grief that besets us when we remember times of happiness. How far beyond recall they are, and we are severed from them by something more pitiless than leagues and miles. The “marble cliffs” in the title of this short novella unite senses of beauty, majesty and danger, which is programmatic for this entire book. It begins with a visionary description of life in the traditional society of “the Marina” in an overwhelmingly beautiful state of paradise. The narrator lives on the edge of this society in a “hermitage” with his brother, his housekeeper and his son. The latter has a strange power over the local population of poisonous snakes. This opening act is without question the most elaborate celebration of poetic beauty I have ever read. Superficially it could be dismissed as purple prose. But due to Jünger’s clever use of poetic techniques in what at first appears to be prose text, there’s a rhythm, a density and a lucidity to it that makes it pretty much a very long poem, and gives it an intoxicating quality which is most apparent when you read it out loud. In the autumn we feasted like sages and did honour to the exquisite wines in which the southern slopes of the Marina abound. When in the vineyards between red foliage and dark grape clusters we caught the jocund calls of the vintagers, when in the little towns and villages the wine-presses began to creak, and the odour of the pressed grape skins drew its heady veils round the farms, we would go down to the innkeepers, coopers and wine-growers, and drink with them from the full-bellied jug. And there we would always meet with gay companions, for the land is rich and fair, so that in it flourishes untroubled leisure, and wit and humour are its unquestioned coin. I know this works, because I did an experiment. I read this book aloud, to a room full of people who were smoking pot. The book is short and the plan was to read all of it over the evening. I have read to pot smokers occasionally, but with this book it was different. They were enjoying it very much for the first couple of chapters, and exclaimed many times it was “perfect” for pot. But some hours, chapters and joints in, when the narrator goes on an expedition into a fantastically beautiful forest, they were so utterly overwhelmed by the intensity of the descriptions of nature they asked me to stop. I and the only other sober person in the room were the only ones who were willing to continue. We all had very intense dreams that night. Once we had broken through the thick hedge of dogwood and blackthorn we entered the high forest, territory where the blow of an axe had never resounded. The ancient trunks, the pride of the Chief Ranger, stood gleaming damp like pillars with their capitals hidden by the mist. We walked among them as if through a spacious hall, and, like the magic setting of a stage, festoons of ivy and clematis blooms hung down towards us out of the void. The ground was piled high with mould and rotting branches, in the bark of which fiery red mushrooms had sprung up, so that we felt for a moment like divers wandering among coral gardens. Wherever one of the mighty trunks had fallen from age or struck by lightning, we stepped out on to a little clearing on which the yellow foxglove grew in thick clumps. On the rotting ground the deadly nightshade bloomed in profusion; on its stalk the dark purple calices shook like funeral bells. It comes as no surprise that Jünger had much practice writing that way, from putting into his diaries a lot of his dreams and his numerous drug experiences. Jünger had long been inclined to deeply poetic descriptions of the real events he described, but this intensity at this length is genuinely new to his writing. Wherever he can use plurals he prefers them over the singular, wherever he can use more melodic and beautiful verbs (like when the characters “step out on” rather than “walk into” clearings) he does. Maybe the pretense of the narrator not being himself allowed Jünger to wallow in his characteristic aestheticism, take it to an extreme and arguably to the point of self-parody. Skip to the next heading if you don’t care about translation The extreme language of this book made me doubt there would be any translation into English that could do it justice. After all, if you throw this last excerpt into DeepL you get: After breaking through a dense fringe of blackthorn and cornets, we entered the high forest, in the grounds of which the blow of the axe had never sounded. The old trunks, which formed the pride of the head forester, stood in the damp glow like columns whose capitals were hidden by the haze. We walked among them as through wide vestibules, and like the magic work on a stage, ivy vines and clematis blossoms hung down on us from the invisible. The ground was covered high with mulm and decaying branches on whose bark mushrooms, burning red cup fungi, had settled, so that a feeling of divers walking through coral gardens crept over us. Where one of these giant trunks was tossed by age or lightning, we stepped out into small clearings where yellow foxglove stood in dense clumps. Belladonna bushes also proliferated on the rotten ground, on whose branches the flower calyxes in brown violet swayed like death bells. It’s still pretty, and it works on a matter-of-fact level. None of it is just wrong. But can you see how it has a lot less of the dreamlike quality? A “fringe” is a geographical feature, while the “hedge” emphasizes its role as an obstacle in a journey. Those “old” trunks are less poetic than “ancient” ones. A “head forester” is a job description, while a “Chief Ranger” is a seminal figure. The “vestibules” are a literal translation of the original, but the English word is used a lot less than German “Vestibüle” was back then. So that’s a word you may need to work to understand, which gets you out of the story’s flow, so “spacious hall” is better. There are even more such nitpicks to be made even in this short paragraph, but my point is these difficulties pervade every single paragraph of the book. ChatGPT very similarly fails to overcome them. Since January, there is a new translation by Tess Lewis, which has the advantage of being available on Kindle. I’ll spare you another repeat of the same paragraph and just say I think DeepL did most of this translation. But Tess Lewis did improve on many of its word choices and I’ll grudgingly concede this translation is good enough. It still sounds too modern for me, too much like prose and too little like poetry. Therefore, all previous and following excerpts are from the Stuart Hood translation, published in 1947, which I was astonished to find does pull it off! Let me assure anyone who doesn’t speak German, or doesn’t study translation, that this one is absolutely exemplary and surely represents years of painstaking work. Stuart Hood was a Scot who knew German very well. Like Jünger he was a veteran officer, and he needed German for his intelligence missions in World War 2. This is his very first published translation of an entire book. It harnesses a considerable talent, which is also evidenced by how Stuart Hood went on to become an accomplished writer himself, a BBC executive, a professor and several other notable things. And it is clearly a labor of intense love — right after the war, while working on it, Hood corresponded with Jünger and even went to visit him at least twice and they talked at length about the art of translation and how to translate specific points of the Marble Cliffs. The end of this last quote, “on its stalk the dark purple calices shook like funeral bells.” exemplifies how precisely Hood has understood Jünger. Why “calices”, not “chalices”? Because that is the old-fashioned form of this word, and using it is unnecessarily peculiar, but it doesn’t make you stop and look into a dictionary. It isn’t even more precise than DeepL’s and ChatGPT’s and Tess Lewis’s “calyxes” for the word “Blumenkelche” in the Original. But it captures precisely how the author was using his German language. This is because on every page of the original, there are choices of individual words that evoke subtleties of mood and allusion that are strictly impossible to translate, because English doesn’t have a similar-enough group of synonyms from which to make the equivalent choice. Some of that must inevitably get lost in translation. But these “calices” are an example of how Hood has the audacity to frequently insert his own new peculiar word choices — which restore exactly the same effect! It might take entire months until AI can do that! Unfortunately the New Directions edition with this translation has been out of print for a while, although I heard from a regrettably less law-abiding friend that the PDF is easy to find. But a few years ago someone bought the UK rights to this translation and republished it. While this edition has several uncorrected OCR mistakes, one of which horrifyingly turns “Flayer’s Copse” into “Player’s Copse”, at least this makes the better translation available (legally) again. What actually happens (spoilers) After six chapters of descriptions of paradise, and of the botanical work the brothers do since they don’t need to make a living, the book continues with a gradual decline of this gorgeous world. This again is much more of a richly detailed description than a story plot. It begins with the introduction of the Chief Ranger. The brothers know him from their military community, from before his takeover begins. There is some debate about whether the Chief Ranger stands for Hitler, Stalin or Hermann Göring. I think this debate is misguided. The character of the Chief Ranger, the antagonist of the narrator and all he holds dear, is never named but only ever referred to by his title. He does not appear to have staff or lieutenants at all, nor any personal history. And Jünger is profoundly uninterested in the personalities of all his characters beneath what they pay attention to (except the narrator’s brother) so even this important figure is roughly sketched at best. Therefore, I believe he is best understood as more of an archetype or role, The Tyrant, denuded of the individual traits or histories that make one tyrant a Führer, another a General Secretary and yet another a Great Leader. So, what makes a tyrant? According to Jünger, “wherever free spirits establish their sway these primeval powers will always join their company like a snake creeping to an open fire. They are the old connoisseurs of power who see a new day dawning in which to reestablish the tyranny that has lived in their hearts since the beginning of time.” The Chief Ranger is also “a master of feigning frankness that was full of snares for the unwary.” He has a reputation for wealth and a strong visual brand (a gold-embroidered green coat) that makes sure he always leaves “an imprint on one’s memory”. He exudes a “breath of primitive power” and has a strong charisma that gives an impression of “both cunning and unshakable power — yes, at times even majesty.” As he begins to usurp power, “reports spread from mouth to mouth of infringements of the law and of acts of violence in the neighbourhood, and finally such incidents occurred publicly and with no attempt to concealment. A cloud of fear preceded the Chief Ranger like the mountain mist that presages the storm. Fear enveloped him, and I am convinced that therein far more than in his own person lay his power.” From what I know about tyrants, that sounds about right. For the next seven chapters, the vile followers of the Chief Ranger continually corrupt everything. The sophisticated culture of the Marina is surrounded by the rough herdsmen clans of the surrounding Campagna steppe, beyond which lies the Chief Ranger’s forest populated by lowlifes. The class metaphor is blindingly obvious, and Jünger’s theory of how these lowlifes overcome first the Campagna and then the Marina is not subtle either. After the Alta Plana war, and the defeat, the entire society has been weakened. “Thus in exhausted bodies corruption will set in by way of wounds which a sound man would scarcely notice. The first symptoms, therefore, were not recognized.” Very gradually, law gives way to lawlessness, spreading from and with the lower classes foresters in many different ways. Violent crime grows, in descriptions very reminiscent of the many deadly street fights of the late Weimar republic. Various elements of traditional culture become corrupted. Those who would defend it are intimidated and attacked. The constitutional lawful reaction is too slow, so by the time it manages to convene and have democratic debates, it is already infiltrated. And there’s one paragraph worth quoting in full. Herein, above all, lay a masterly trait of the Chief Ranger. He administered fear in small doses which he gradually increased, and which aimed at crippling resistance. The role he played in the disorders which were so finely spun in the heart of his woods was that of a power for order; for while his agents of lower rank, who had established themselves in the clans, fostered anarchy, the initiated penetrated into the civic offices and the magistracy, and there won the reputation of men of deeds who would bring the mob to its senses. Thus the Chief Ranger was like an evil doctor who first encourages the disease so that he may practise on the sufferer the surgery he has in mind. Today this is a mainstream view in German history. In 1939, it could have been prosecuted as high treason and punished with death. On the backdrop of ever escalating mayhem, two old men who are friends of the brothers are described: Belovar, a clan patriarch from the Campagna, and Father Lampros, an eminent Christian monk. In very different ways, they both are very helpful, each both in the botanical work and against the mounting threat. The brothers decide against meeting the violence with violence, delve deeper into their work, become increasingly pessimistic and develop a hope that they can rescue the results of their work into an imperishable afterlife by burning it with an ancient mystical crystal lens that they somehow inherited. The narrator describes continued excursions for rare plants, through the country that is becoming increasingly treacherous and foreboding, until finally, well after the middle point of the book, with one particular excursion for an extremely rare flower, the actual continual story begins. Today we look at the Nazis with horror, but Jünger has dug too many trenches into hills of rotting corpses to be easily horrified. Instead of horror, his feelings towards the Nazis are mostly contempt, seasoned with disgust, and that has been pervading his description of the rise of the Chief Ranger’s henchmen over the last couple of chapters. But he does give one instance of pure horror and it is here, in the very heart of the book, when the two brothers on their excursion happen to discover, in the ill-reputed area of Flayer's Copse, the Chief Ranger’s remote “flaying-hut” of Koppels-Bleek. The original Köppels-Bleek is a German wordplay, about as subtle as a drone base in a sci-fi novel that happens to be called Obamazliez. Koppels-Bleek is where the Chief Ranger has his enemies tortured to death. It has frequently been called a concentration camp, but that is imprecise. It is really a Vernichtungslager, a death camp, which unlike a “normal” concentration camp is built for the express purpose that no torture victim ever gets out alive. This is a prediction, because while Nazi concentration camps were set up starting in 1933, Vernichtungslager were only built three years after the “Marble Cliffs” were published. After an intensely gruesome description of the particulars of this place, the narrator assesses its importance as follows. Such are the dungeons above which rise the proud castles of the tyrants, and from them is to be seen rising the curling savoury smoke of their banquets. They are terrible noisome pits in which a God-forsaken crew revels to all eternity in the degradation of human dignity and human freedom. He is so certain he has captured the very essence of tyranny, “the abode of tyranny in all its shame”, that he puts this climax at the two thirds mark of the book and makes it exceedingly obvious this is where the third and final act begins, as the pace of the book changes entirely. Although the narrator still includes some retrospectives, he is now finally telling a real story. Strikingly, the brothers return to botany — remember this, it will be important later — and then to their home, where they soon get two conspiring visitors. Braquemart is a competent, racist, nihilistic fellow veteran. The narrator despises him at length for his heartless theory-mindedness. Prince Smyrna is new, young, seems to the narrator to know “the nature of justice and order” but is too weak and inexperienced to shoulder the responsibility he is heroically taking on. The two visitors want to Do Something about the Chief Ranger — what exactly is never said, though a personal confrontation or assassination is implied. They leave for the Chief Ranger's territory. This entire chapter feels very much like a comment on some political acquaintances of Jünger who attempted to challenge the Nazis, and failed. The next day, Father Lampros gives the narrator a mission to arm himself and look for these two men. He goes to old Belovar's farmstead, where he learns of commotion in the direction of Flayer's Copse, and the old clan patriarch goes to war. Before, the book was a dreamy soliloquy; now we see dramatic wartime action. Ernst Jünger has had a lot of practice with writing about that kind of thing, and it shows. Their small but experienced war party with a lot of dogs goes towards Koppels-Bleek and is soon met with two confused, horrific, riveting battles. The narrator stumbles through and finds at Koppels-Bleek the heads of Prince Smyrna and Braquemart. The former strikes him as a symbol of how nobility remains real, and he picks it up. With it, he retreats through mayhem and danger into the complete flaming destruction of the Marina. He marvels at the beauty of the flames — remember this too, it will also be important later — and, with his hunters in hot pursuit, runs to his house. There his son uses his strange power over the local population of poisonous snakes to make them defeat the nearest attackers. The brothers burn down the house, go find Father Lampros and see him die. From an old soldier comrade who owes them a favor they get room on a ship to flee across the water to Alta Plana, where an old enemy who owes them another favor takes them in. There’s an implicit framing story of how the narrator lives to tell the tale of these memories to some unspecified audience, and as it ends it mentions in passing that sometime after these events, a new cathedral has been built on the ruins of the Marina and the head of Prince Smyrna went there as a relic. This small bit still stands out today, and would have stood out even more starkly to contemporary readers, because in the context of everything that happened before, this bit publicly, extremely boldly, and correctly, predicts the eventual fate of the Nazis. Not once in this entire story has the narrator expressed surprise at this progression of events, or given any other indication it is in any way unlikely. The narrator, and the author through him, seems to be saying this is just the way it goes with tyranny, when a society has lost too much of its strength to fight off the bestial attacks of the lowly. I have omitted not just many smaller elements of the story but also a huge number of allusions to ancient history, (German) literature and especially the Bible. I imagine Jünger put them there as prizes for the few who would find them. This is one of the ways that I think On the Marble Cliffs is Ernst Jünger’s Unsong: a vehicle that lets a prolific nonfiction author