What do we have (yet) to lose?


Gérard de Nerval was imbued with shamanism and orphism. With its calculated, ironic and visionary poetry, Voyage en Orient bears witness to these tropisms.

« They plunged me three times into the waters of the Cocyte » (Antéros).

The four rivers of Hell, who can cross their liquid walls? Can a pale poet cross these bitter barriers, these dark, convulsive masses?

« Et j’ai deux fois vainqueur traversé l’Achéron,

Modulant tour à tour sur la lyre d’Orphée

Les soupirs de la sainte et les cris de la fée.”

(And I have twice a winner crossed the Acheron

Modulating in turn on the lyre of Orpheus

The sighs of the saint and the cries of the fairy.) (El Desdichado)

Nerval’s work is influenced by the tutelary figure of Orpheus, prince of poets, lovers and mystics – explorer of the depths.

Orpheus was dismembered alive by the Bacchae in madness, but continued to sing from the mouth of his beheaded head. His singing had already persuaded Hades to let him leave Hell with Eurydice. The condition was that he did not look at her, until he came out of the world of the dead. Worried about the silence of the beloved, he turned his head when they had arrived at the edge of the world of the living. He lost again, and forever, Eurydice.

Instead of looking at her, he could have talked to her, held her by the hand, or inhaled her scent, to make sure she was there? No, he had to see her, to look at her. As a result, she died.

Why do heroes want to face Hell?

What haunts them is whether death is real, or imaginary. What drives them is the desire to see the loved ones again, though lost forever. In these difficult circumstances, they must acquire special powers, magical abilities. Orpheus’ strengths were music, song and poetry.

Music produces, even in Hell, a form, a meaning, and calls for the poem. Orpheus might have sung:

« Always, under the branches of Virgil’s laurel

The pale hydrangea unites with the green myrtle.  » (Myrto)

Gérard de Nerval was inspired. By what?

From the scattered crumbs, let us deduce the bread that feeds him.

« Man, free thinker! Do you think you’re the only one thinking

In this world where life is bursting into everything?

(…)

Each flower is a soul to nature blooms.

A mystery of love in metal rests.

(…)

Often in the dark being dwells a hidden God

And like a nascent eye covered by his eyelids,

A pure spirit grows under the bark of the stones.  » (Golden Verses)

The poets lose, lost, in the theological assaults. Nerval admits defeat, false hopes and real regret:

« They will return these Gods that you always cry for!

Time will bring back the order of the old days,

The earth shuddered with a prophetic breath…

However, the sibyl with its Latin face

Is asleep under the arch of Constantine

And nothing disturbed the severe gantry.  » (Delfica)

Did Nerval believe in the breath of the sibyl, in the order of the day?

Orpheus, Nerval, prophetic poets.

During the Renaissance, Marsile Ficin presented Orpheus as an explorer of Chaos and a theologian of love.

« Gilded in Argonautics imitating the Theology of Mercury Trismegist, when he sings principles of things in the presence of Chiron and the heroes, that is, angelic men, puts Chaos before the world, & before Saturn, Iupiter and the other gods, within this Chaos, he welcomes Love, saying Love is very ancient, by itself perfect, of great counsel. Plato in Timaeus similarly describes Chaos, and here puts Love. »i

Chaos is before the gods, – before the very sovereign God, Jupiter. And in Chaos, there is Love!

« Finally, in all of us, Love accompanies Chaos, and precedes the world, excites the things that sleep, illuminates the dark ones: gives life to the dead things: forms the unformed, and gives perfection to the imperfect. » ii

This « good news » was first announced by Orpheus.

« But the unique invisible perpetual light of the divine Sun, by its presence, always gives comfort, life and perfection to all things. Of what divinely sang Orpheus saying:

God the Eternal Love all things comforts

And on all of them is spread, animated and supported. »

Orpheus bequeathed to humanity these simple pearls:

« Love is more ancient and younger than other Gods ».

« Love is the beginning and the end. He is the first and last of the gods. »

Merci, Marcile. Perfect, Orpheus.

Finally, Ficin specifies the figure of the last of all the gods: « There are therefore four kinds of divine fury. The first is the Poetic Fury. The second is the Mystical, that is, the Priestly. The third is Divination. The fourth is the Affection of Love. Poetry depends on the Muses: The Mystery of Bacchus: The Divination of Apollo & The Love of Venus. Certainly Soul cannot return to unity unless it becomes unique.” iii

The One. Love. The Union. This is the message Orpheus reports.

To hear it first, Orpheus must have lost Eurydice.

But to hear it, what do we have yet to lose?

iMarsile Ficin. Discours de l’honneste amour sur le banquet de Platon, Oraison 1ère, Ch. 2, (1578)

ii Marsile Ficin. Discours de l’honneste amour sur le banquet de Platon, Oraison 1ère, Ch. 2, (1578)

iii Ibid., Oraison 7, Ch. 14

A Good News for Our Dark Times


A thousand years before Abraham, and twelve or fifteen centuries before the drafting of Genesis, Sanchoniaton cried out: « The Spirit blows on darkness ».

The Phoenicians, a people of merchants and travelers, invented the alphabet, but they left almost no written record. The only written monument they have left is a fragment attributed to this Sanchoniaton, priest of Tyre, according to Philo of Byblos. Sanchoniaton lived before the Trojan War, and more than 2000 years BC.

The name ‘Sanchoniaton, according to Ernest Renan, comes from the Greek word Σαγχων, « who lives ». In ancient Coptic Koniath means « holy dwelling », or « place where the archives are kept ». ‘Sanchoniaton’ would therefore mean « the one who lives with the holy college », or « the archivist »…

The quoted fragment of Sanchoniaton is precious, because it is one of the few remaining testimonies of a fabulous era, where elite human minds were able to converge, despite harsh cultural and linguistic differences, around strong ideas.

In those times, the Veda, the Avesta, the Genesis, the theogonies of Hesiod and the ‘Sanchoniaton’ could appear as different and complementary phases of the same history, and not as separate claims of peoples seeking for themselves an original proeminence.

The « sacred fire » was revered among the Egyptians, Greeks, Hebrews and Persians. The idea of a Unique God was present among the Hebrews, but also in the Orphic religion, in Mazdaism, in the religion of Chaldean magic.

The Unique God had also already been celebrated by the Veda and the Zend Avesta, more than a millennium before Abraham left Ur.

According to the most recent research on the archaeological field, monotheism did not settle in Israel until the end of the monarchical period, in the 8th century BC.

In the verses of Homer, who lived in the 8th century BC, more than a thousand years after Sanchoniaton, we find reminiscences of the universal intuition of the priest of Tyre. Gods abound in the Homeric work, but their plurality is only an appearance. The most important thing to understand is that Heaven and Earth are linked, and connected. The human and the divine merge. Men are descendants of the gods, and heroes are made of their fabric.

There are other traces of the long memory of this region of the world. Under Ptolemy Philadelphia, Manethu, a priest of Sebennytus, compiled the history of the thirty-one Egyptian dynasties, from Menes to Alexander, and traced their origin back to 3630 BC.

Champollion, according to indications collected in the tombs of Thebes, dates the institution of the 365-day Egyptian calendar back to 3285 BC.

It can be estimated that the astronomical knowledge of this ancient period was therefore already much higher than that of the nomadic peoples who still counted per lunar month.

The Phoenician of Tyre, Sanchoniaton, lived four thousand years ago. He left as his legacy, for centuries, some fragments, overturning in advance some preconceived ideas about the god Thoth, who would later be identified with Hermes, Mercury, Idrîs and Henoch.

Sanchoniaton calls him Taut, and gives this brief description: « Taut excites the Elohim, El’s companions, in battle by singing them war songs. »

Sanchoniaton also claims that Taut was the son of Misor, in other words Misr or Misraim, a term used to name the Egyptian colonies of the Black Sea, the main one being Colchis.

Moreau de Jonnès explains that Taut (or Thôt) received the name of Mercury, ‘Her-Koure’, the Lord of the Koures. « This name derives from Kour, the sun. The Coraitis and Coraixites lived in Colchis. The Kour River, Dioscurias, Gouriel remind us of this generic name. Her-Koure was the God of traffickers and navigators (emblem of the fish), ancestors of the Phoenicians. According to Strabon, the Corybantes (Kouronbant) were native to Colchis. »

In Colchis, located on the Black Sea coast, now called Abkhazia, and recently torn from Georgia, the magnificent villas of the Russian oligarchs and the silovniki of the FSB flourish today…

Eusebius of Caesarea reports that the beginning of the ‘Sanchoniaton’ was translated by Philo as follows: « At the beginning of the world there was a dark air and the Spirit – or the Breath – was dark, and there was the Chaos troubled and plunged into the night. »

These words were written a thousand years before the first verses of Genesis.

What did the priest of Tyre really want to say? He said that the Spirit has been blowing on darkness since the beginning of the world, – thus fighting against Chaos and Night. He said that the Spirit was Light, and breathed Light…

That’s pretty good news in our dark, troubled times. Isn’t it?