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Contents ( 51)
  1. Roberto Calasso
  2. Contents
  3. Note for Lucien
  4. Living in the Torrent
  5. Exempla Voluptatis
  6. The Grand Ball
  7. Treacherous Trifles
  8. Dismal Glory
  9. “The Mysterious Force of Legitimacy”
  10. Arcana Imperii
  11. The Origins of Sweetness
  12. Eulogius
  13. L’Autrichienne
  14. The Woodcutter and the Fisherman
  15. Goethe in Venice
  16. On Taste
  17. Metamorphoses of Style
  18. A Belated Nostalgia for Sorrow
  19. The Languor of a Park in Berry
  20. Around Port-Royal
  21. The Ruin of Kasch
  22. Among the Ruins of Kasch
  23. Elements of Sacrifice
  24. Law and Order
  25. The Forest Doctrine
  26. Archives and Will-o’-the-Wisps
  27. Postcards from the Quaternary
  28. The Demon of Repetition
  29. Goethe’s Birthday
  30. Sacrificial Crumbs
  31. The Antiromantic Child
  32. Limits
  33. Process
  34. Glosses on Marx
  35. Ricardo’s Ruthlessness
  36. Geldkristall
  37. History Makes Experiments
  38. The Artificial Barbarian
  39. Un frisson nouveau
  40. Behind the Glass
  41. Bien-aimé
  42. A Visit to Picpus
  43. “The Organization Wouldn’t Like That”
  44. The Moscow Doorkeeper
  45. Montaigne’s Wake
  46. The Wolf-Man Recalls
  47. Voices from the Palais-Royal
  48. Mundus Patet
  49. Letter from Saint Petersburg
  50. Notes
  51. THE BEGINNING

There are two kinds of substitution: one says a stands for b, and implies that a cancels b, it kills it, sometimes to discover how it works; the other says: a stands for b, but in the same way that a fragment of granite stands for the mountain from which it has been separated. In these two kinds of substitution there is a Y-shaped fork that had long wandered in the cosmos and is now portrayed in the amygdala of the mind. The symbol—not that of the linguists but that of the Mysteries—belongs to the second kind of substitution, always returning to superimpose itself on an invisible mountain. The fact that the symbol is a discontinuous ripple forever facing the continuous is made clear in the origin of its name: symbolon is the putting together of two broken halves of a piece of wood or pottery; in this way it returns to being a smooth and solid surface, barely incised by a crack across it. More than substitution, to which it must nevertheless pay homage, the symbol reveals interpenetration, the indissoluble superimposition of things: symbol is a specter that enters another specter, mingles with it, merges into it, disappears. The symbol drags behind it, as a catena aurea, all that it has crossed.

Everything changes according to whether or not one accepts the “sacrificial interpretation of life,” a formula tucked away in a short review by Guénon in Études traditionnelles of a paper by Ananda Coomaraswamy. According to that interpretation, “actions, having an essentially symbolic character, have to be treated as supports to contemplation (dhiyālamba), which presupposes that every practice implies and includes a corresponding theory.”434 Every practice, every gesture, voluntary or involuntary: what is indeed more sacrificial than breathing? Every instant is now being held in an invisible clamp that forces it into a perpetual oblation. But, if nothing is offered, if sacrifice is discounted as a superstition, what will happen? “Revolution, through sacrifice, confirms superstition,” warns Baudelaire.435 Without being named, sacrifice continues to demand its victims, once again it’s nomadic and moves its places of worship everywhere. Why? Perhaps reason, which has banned sacrifice, is not powerful enough to stamp it out? Or is it perhaps the case, as Baudelaire claimed, that “superstition is the depository of all truths”—and truths come out in the end, like the traces of a crime?436

The threefold deception of sacrifice. There is a deception toward the gods, through the substitution of the victim; there is a deception toward the victim: the knife is concealed among ears of corn, for it is feared to the very end that the victim might rebel; there is a deception toward men on the part of the gods, who demand the sacrifice so that life may be guaranteed—and yet, in the act of sacrifice, they allow death to be confirmed.

The rice thrown at newlyweds can be traced back to the grains of barley scattered over the victim, which can be traced back to the stoning of the victim, the safest way of killing, since there is no need to even touch the victim.