The New Dark Ages / The New Middle Ages

In his magisterial, if somewhat long-in-the-tooth study The Waning of the Middle Ages, Jan Huizinga diagnoses the end of that mysterious and wondrous time in decidedly psychological terms. “At the close of the Middle Ages,” writes Huizinga, “a somber melancholy weighs on people’s minds.” [1] As I have written on this blog and in my recent book, Sophia in Exile, I detect a similar melancholy strain in Sir Thomas Malory’s Le Morte Darthur, originally published by early English publisher Caxton in 1485 during the twilight of those same Middle Ages. The same sensibility resounds in this famous engraving by Dürer:

I raise these points not out of scholarly or antiquarian interests, but because I see the same cultural development all around me. We, too, are living during a cultural decline and deflation characterized by melancholy; and I would argue that the “pandemic” (read “plague” if you want) is not so much a cause but a symptom of this degeneration.

Like the medieval period, our times are a blend of superstition and ignorance combined with blind faith and an increasingly feudal societal structure. I see superstitious belief in “the science,” which has taken over the authority once held by the Church, replete with the punishment of heretics. I see ignorance widespread, but particularly in college students, who don’t seem to know much about anything for the most part. They’re completely ignorant about history—even the Holocaust—religion, philosophy, politics. I could go on. I noticed this decades ago when I started teaching, but it is far worse (and even more depressing to behold) now. As I said to a class yesterday, “If you don’t ask the Life Questions now, when will you? How can you learn to Live in Truth if you’ve never thought seriously about what Truth is?” People really don’t go to college looking for answers to these questions anymore; their aims, though no fault of their own making, are more utilitarian. As a result, the last generation or so is more susceptible to the influence of propaganda, and ours is certainly the Golden Age of Propaganda, aided and augmented by the pernicious prevalence of social media and surveillance technologies. Perhaps students can’t grapple with the Life Question because they’ve been trained by these technologies to avoid them in order to avoid social and technological ostracization and recrimination. But what should one expect when even a Supreme Court nominee can’t answer simple question about biology?

Unlike the earlier age, our own is not suffused by a religious culture. So we don’t get the consolation of Heaven, only the threat of a technocratic Hell. “You’ll own nothing and be happy” is the promise of the new manorial barons to their ignorant and obedient serfs. We should expect nothing less: we’ve been chemically and technologically lobotomized.

All this is to say that we are now living in a New Dark Age. There is simply no other way to describe it.

Nikolai Berdyaev saw all of this over a hundred years ago. In his book The End of Our Time, first published in Russian in 1919, Berdyaev, taking the mantle of prophet, looks into the future: “The time is coming fast when everyone will have to ask himself whether ‘progress’ was progress or whether it was a most vicious ‘reaction,’ a movement away from the meaning of the universe and the authentic foundations of life.” [2] He wrote this under the threats of Communism and Socialism, “the end and crown of all contemporary history,” a phrase he used as the opposite of a compliment. [3]

Berdyaev, however, also prophesied the coming of what he called “The New Middle Ages.” He did not propose a retrograde movement to the past, but traced the trajectorial habits of history to predict what would happen next: an era of universality, that was also a feature of the earlier Middle Ages: “The idea of universality so characteristic of the middle ages has ceased to have any influence in ours. It is only when human personality is rooted in the universal, in the cosmos, that it finds an ontological ground to give it its chief substance.” [4] But his vision also has economic and social implications:

“By this path we should be obliged to revive rural economy and return to trades, organizing ourselves into economic association and trade corporations. The town will have to link up with the country again, and competition be replaced by co-operation. The principle of private property will be kept as an eternal foundation, but will be limited and spiritualized in application: no more of those scandalous huge private fortunes with which we are so familiar. There will be no pretence at equality, but neither will there be avoidable hunger and poverty. We shall have to have a much more simple and elementary material culture and a spiritual culture that is more complex.” [5]

The future, that is, is a religious one. It is also a Distributist one (if only the alleged Distributitists would stop reading The Hobbit for five minutes and actually do something.) But Berdyaev also has something to say about woman in this future (and he doesn’t need to be a biologist to do so):

“It seems to me that women will be very much to the fore in the new middle ages; an exclusively masculine culture was undermined by the war [WWI], and in these later most trying years the influence of women has been considerable and their achievements recognized as great. Woman is bound more closely than man to the soul of the world and its primary elemental forces, and it is through her that he reaches communion with them. Masculine culture is too rationalizing, out of touch with the mysteries of universal life: this is corrected through woman. Women are filling a notably important role in the present religious revival; as in the gospel, they are predestined to be the myrrh-bearers. Day is the time of the exclusive predominance of masculine culture; at night the feminine element receives her rights…. It is the eternal feminine that has so great a future in coming history, not the emancipated woman or epicene creature” [6]

All he describes here, of course, is the essence of Sophiology.

In this regard, I can’t help but think of Nimue’s enchantment of Merlin in Le Morte Darthur. Merlin enthralled by Nimue, and who “allwayes he lay aboute to have hir maydynhode” is tricked by Nimue into divulging his magical power, by which she entraps him in a stone. I think we can interpret this as a prediction of the aged and decrepit masculine magic of the technological and of war being arrested (not killed) by the feminine. Remember: even the grievously wounded Arthur repairs to the Isle of Avalon to be healed of his hurts by a community of women, and is one day promised to return as the Rex Quandam, Rexque Futurus, the Once and Future King.

So, I think we are indeed living in a Dark Age, but I also think we live upon the cusp of a New Middle Ages. But nothing is guaranteed. I think the present Archons also see this movement—and are doing their utmost to hold on to their power through the same tools that destroyed Arthur’s realm: war, magic (or technology to you and me), and a profound misunderstanding of the feminine.

I predict most of our institutions, now faltering, will soon fail, despite the machinations of the Archons. The medical-corporate-industrial complex will implode. The educational system will do likewise. Lastly, it will happen to governments. With them our understanding of economics will undergo a vast realignment.

So what will come in their place? Time to start planning.

Michael’s latest book is Sophia in Exile. He can be reached at director@thecenterforsophiologicalstudies.com See also The Center for Sophiological Studies' available courses. Also check out the latest volume of Jesus the Imagination: The Divine Feminine. There are also a few spots open in the Biodynamic Farming and Gardening as Christian Path course being offered at the end of April. See more here.

1, J. Huizinga, The Waning of the Middle Ages (Edward Arnold, 1924), 22.

2. Nicholas Berdyaev, The End of Our Time, trans. Donald Attwater (Sheed & Ward, 1935), 76.

3. Ibid., 78-79.

4. Ibid., 85.

5. Ibid., 95.

6. Ibid., 117-18.

THE DIVINE FEMININE: LEADING US EVER ONWARD

“The Death of Arthur” by Julia Margaret Cameron

What follows is my introduction to Jesus the Imagination, Volume 5: The Divine Feminine, published last month by Angelico Presss.

“Let a body finally venture out of its shelter, expose itself in meaning beneath a veil of words. WORD FLESH. From one to the other, eternally, fragmented visions, metaphors of the invisible.” ~ Julia Kristeva [1]

I have never felt comfortable with Simone de Beauvoir’s bristling in The Second Sex in regards to Goethe’s concluding lines of Faust: “the Eternal Feminine leads us ever onward.” De Beauvoir extends this complaint to allegorical representations of principles (like Liberty or the Church, for example) as female, to Dante’s Beatrice, to divine figures such as the Virgin Mary and the Sophia of Gnosticism. De Beauvoir seems to operate under the assumption (note the term) that only feminine figures are idealized in Western culture, and that such are incommensurate with the actual reality of women. Idealization, however, is a universally human interpretive gesture; and that it is often personified can hardly be evidence of a conspiracy theory of male oppression, as if any man could live up to the model of Jesus, the Buddha, Odin All-Father, or even Pa Ingalls. Figuration leads us ever onward, Simone.

Julia Kristeva, much more generous of spirit and, as a result, much more human, acknowledges the West’s—and particularly Christianity’s—psychic relationship to the feminine, especially as regards the image of the Mother. “The question is,” she writes, “whether this was simply an appropriation of the Maternal by men and therefore, according to our working hypothesis, just a fantasy hiding the primary narcissism from view, or was it perhaps also a mechanism of enigmatic sublimation? This may have been masculine sublimation, assuming that for Freud imagining Leonardo—and even for Leonardo himself—taming the Maternal—or primary narcissistic—economy is a necessary precondition of artistic or literary achievement.” [2] This notion can be applied, with some qualifications of course, to Goethe’s pronouncement.

Goethe the poet, who was Goethe the scientist as well, however, was also giving utterance to a metaphysical principle. Inspired by his reading of Boehme and the example of Novalis, an incipient Sophiology haunts the conclusion to Goethe’s Faust. Many feminist commentators, like de Beauvoir, have chastised Goethe for not having Faust justly punished for his mistreatment of Gretchen—and the fact that Gretchen even prays for Faust’s redemption from the heavenly realm during his apotheosis in the play’s conclusion further offends them. But such a disposition profoundly misreads Goethe—and Christianity, for that matter. Faust’s denouement is a picture of apocatastasis, the redemption of all, an idea that profoundly colors Sophiology.

What political discourses routinely miss when projecting their biases onto works of literature and metaphysics—to say nothing religion, science, or nature—is that not only the natural world, but the world of the spirit is also gendered. Try as we might, through whatever optics or interventions, we cannot ultimately avoid this reality. It is a matter of primal ontology.

Often sterilized in mistaken conceptions of neutrality, a gendered one-sidedness, as both Alison Milbank and Therese Schroeder-Sheker argue in this volume, is detrimental to everyone, regardless of gender. We act as though this is a reality we are only just now discovering—since the advent of feminism and ideas of gender equity—but this is not at all the case. It is my claim that the Western psyche has been clamoring for a regenerated imagination of the ontological reality of gender for at least a thousand years—and, as Margaret Barker discusses in my interview with her here—the same Western psyche has been in search of a holistic and healthy imagination of gender from at least the time of Lady Wisdom’s expulsion from worship in First Temple Judaism under the reforms of King Josiah.

During the Middle Ages, the Christian psyche was on the way to rectifying this situation. Beguine mysticism, with its holy feminine eroticism, Franciscan spirituality, with its deep relationship to Nature, and the lays of the Troubadours and their adoration of the Lady all rendered witness to the need of the re-entrance of the Divine Feminine into culture. That reformation was not to be fully realized, alas, though the dream lived on. Its palimpsest bleeds through Wolfram von Eschenbach’s Parzival, in which the hero’s development depends upon the counsel and examples of both women and men, even though he often misinterprets things at first. As we all do.

But perhaps the most accurate depiction of the phenomenon of which I speak in medieval literature is Sir Thomas Malory’s Morte Darthur. The great medieval historian Jan Huizinga describes the late-medieval period in which Malory wrote as a time when “somber melancholy weighs on men’s souls,” [3] and nowhere is this more evident than in Malory. Malory’s Arthurian realm doesn’t end in cataclysm so much as in dissipation and self-sabotage. As with Wolfram, women also figure in this story, but they also contribute to the ruin of the land and of chivalry. The knights who survive the Battle of Camlann, even the great Lancelot, end their lives as monks, priests, or hermits. Queen Guinevere herself dies in the cloister. A tremendous ennui taxed with apocalyptic sterility burdens both Malory’s text and its readers. In the nineteenth century, Malory’s melancholia reappeared in that of Tennyson, nowhere so strongly as in his Idylls of the King, a melancholic tableau brought to beautiful realization in the photography of Julia Margaret Cameron.

Malory is not entirely without hope (though what hope he offers is as delicate as frost), as Arthur does not die in the text. Malory tells us that in a mysterious bark “resceyved hym three ladyes with grete mournyng. And so they sette hem downe, and in one of their lappis kyng Arthure layd hys hede.” [4] and ferried him to the Isle of Avalon to be healed of his grievous wounds with the promise to one day return in parousaic triumph. Avalon is an island of women; it is only there where Arthur can find healing.

I have often thought, over this past, most melancholic of years, that Malory’s tale is precisely the homeopathic medicine required for our particular moment. The West, and especially the Christian West, suffers from a grievous wound and it is only the Divine Feminine which can bring it healing. What was lost must be restored. In our end is our beginning. For the Divine Feminine leads us ever onward.

Toss that Freudian symbol back to the unconscious, my mans!

Michael’s latest books are an edition of The Chymical Wedding of Christian Rosenkreutz and Transfiguration: Notes toward a Radical Catholic Reimagination of Everything. He can be reached at director@thecenterforsophiologicalstudies.com See also The Center for Sophiological Studies' available courses. Also check out the latest volume of Jesus the Imagination: The Divine Feminine.

1. Julia Kristeva, “Stabat Mater,” trans. Arthur Goldhammer, Poetics Today 6, no. 1/2 The Female Body in Western Culture: Semiotic Perspective (1985); 133-52, at 134.

2. Ibid., 135.

3. J. Huizinga, The Waning of the Middle Ages: A Study in the Forms of Life, Thought and Art in France and the Netherlands in the XIVth and XVth Centuries (St. Martin’s Press, 1924), 22.

4. Thomas Malory, Works, ed. Eugene Vinaver, 2nd ed. (Oxford University Press, 1971), 716.