Self-analysis: Nietzsche and Browne

Man is very well defended against himself, against his own spying and sieges; usually he is able to make out no more of himself than his outer fortifications. The actual stronghold is inaccessible to him, even invisible, unless friends and enemies turn traitor and lead him there by a secret path. - Friedrich Nietzsche

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The noblest Digladiation is in the Theatre of our selves: for therein our inward Antagonists, not only like common Gladiators, with ordinary Weapons and down right Blows make at us, but also like Retiary and Laqueary Combatants, with Nets, Frauds, and Entanglements fall upon us. Weapons for such combats are not to be forged at Lipara: Vulcan's Art doth nothing in this internal Militia: wherein not the Armour of Achilles, but the Armature of St. Paul, gives the Glorious day.        - Christian Morals Part 1:24

On first consideration, it would appear that the thoughts of the nineteenth century German philosopher Friedrich Nietzsche have little in common with those of the seventeenth century English philosopher Sir Thomas Browne. Both however, were Classical philologists as well as profound, original thinkers. They also shared an awareness of the strong presence of self-deception within human nature. Both philosophers here likening the attainment of self-awareness to an internal battle of military-like combat.

Browne penned Christian Morals late in his life, primarily as an advisio for his children but applicable to humanity in general. The whole work is permeated by many short, perceptive aphorisms upon life. It's interesting to note that in his old age Browne advocates the supremacy of Christian faith over alchemy which was known as Vulcan's Art. His phrase, 'the Theatre of ourselves' in particular, is one of great insight and originality.

Curiously, Nietzsche shared with Browne an interest in the notion of eternal recurrence, that is the idea of Time and History being of a cyclical, repetitive nature. Probably the best novel in modern times which explores the concept of eternal recurrence is P.D. Ouspensky's The Strange tale of Ivan Osokin (1915)  a novel written during an age of heightened interest in mystical ideas in Russian history.

Venus and Mars

As for the famous network of Vulcan, which inclosed Mars and Venus, and caused that inextinguishable laugh in heaven; since the gods themselves could not discern it, we shall not pry into it; Although why Vulcan bound them, Neptune loosed them, and Apollo should first discover them, might afford no vulgar mythology.


Thus does Sir Thomas Browne allude to the union of the goddess of love with the god of war and their subsequent entanglement, caught inflagrante delicto by Vulcan with his cunning network, in  the Discourse, The Garden of Cyrus. However, the Classical myth of Venus, the goddess of love, taming Mars, the god of war, was first elaborated upon by the Renaissance Hermetic scholars Marsilio Ficino (1433-99) and Pico della Mirandola (1463-94) as symbolic of the victory of love over war and the supremacy of Harmony over strife.

Indeed the planet Earth itself orbits between the planets Venus and Mars, symbolically intermediate between peace and war. The Classical myth was also a lesser representation of the coniunctio of the alchemists and more frequently alluded to as the union of  Sol et Luna, Sun and Moon, it was also alluded to as the astrological phenomenon of the Eclipse, an event which continues to exert a fascination upon humanity.

For the alchemist the uniting of the opposites was the primary objective of the 'Great Work' or magnum opus. And it's interesting to note in passing that C.G. Jung's deepest and final writing on alchemy is entitled Mysterium Coniunctionis (1955-56).

Paintings - Mars and Venus captured by Vulcan - Luca Giordano 1670's
Below- Mars and Venus united by Love - Paulo Veronese c.1578  
See Also - Vulcan 

Volcano

A second eerie plume in the sky this decade causing grounded planes. One feels for the thousands who are experiencing disrupted travel plans, but this looks bigger on the global repercussions than individual plans thwarted. Vulcanologists are a bit quiet upon the eventual outcome, the last time this occurred in Iceland in 1821 it continued for 18 months, causing a 'year without Summer'.

I can't see this natural disaster improving the fragile British Summer much, just the consolation of spectacular sun-sets, caused by the refraction of dust and ash. I remember being in Sicily in '83 when Europe's largest Volcano, Etna, was stirring. 'Il Volco, fuma'  locals would say, shrugging their shoulders.