Axis Monday: Castles in the Sky

Towers or spires are the most common manmade form of the axis mundi. However, in certain cases a castle or palace may take on the same characteristic.

Now it is obvious that certain castles or palaces--Versailles is the most apparent--hold some of the same traits as the axis mundi, just as the U.S. Capitol does today. But these are political axes mundorum. They do indeed represent the center of all things for a nation or culture, upon which all converges, but solely in that political sense. These structures, or similar ones, are also metonymous for the government itself (e.g. 'The White House today released a statement that..." and similar ubiquities).

But these two castles do not bridge the mundane and the symbolic in that particular way. These are more naturalistic axes. They form central poles less because of their history or importance than their position. Both are situated halfway between Earth and Sky.

Swallow's Nest
Swallow's Nest has no political importance. It is not particularly large (65 ft x 33 ft), nor particularly old (1911). But it is nevertheless spectacular. It is one of the most popular tourist attractions in the Crimea. And it forms a triple bridge between Earth, Sea, and Sky:

Much of Swallow's Nest's power comes from the continuity between cliff and castle. The natural rock transitions quite smoothly into the artificial stone. The castle appears to belong exactly where it is; indeed, it would be shocking if it wasn't there.

From a different angle:

This photograph emphasizes sea and sky over stone. The sea forms a nearly perfect line with the bottom of Swallow's Nest, which emphasizes the castle's liminal standing at a junction of three worlds.

The small size of Swallow's Nest--despite its great stature--suggests that it is a conduit or a bridge between the world. But the next palace is not so humble. Quite simply, it reigns from on high.


Neuschwanstein


The archetypical fantasy castle on a far-off hillside is real, and rules over field and forest from a high peak in Bavaria.

The location of the castle speaks for itself but the castle holds other secrets which make its existence even more wondrous.

This photochrom of the castle dates from the 1890s, shortly after its completion. As the photos suggest, it stands upon a high pinnacle (like Swallow's Nest) and behind it lie endless misty mountains which give way only to sky. The first photo shows Neuschwanstein as a local axis; the second, however, presents it entirely within the realm of the sacred--the extremely romanticized print leaves out everything of humanity, except the castle itself. And the castle, though made by human hands, does not seem out of place.

The castle's background shows that I am not all smoke and mirrors:

-Ludwig II, King of Bavaria--also known as the Swan King, the Mad King, and the Fairy-tale King--commissioned the palace. He did so on behalf of Richard Wagner, to whom he wrote a letter about the castle:

"It is my intention to rebuild the old castle ruin at Hohenschwangau near the Pollat Gorge in the authentic style of the old German knights' castles... the location is the most beautiful one could find, holy and unapproachable, a worthy temple for the divine friend who has brought salvation and true blessing to the world."

Neuschwanstein--named for the palace of Wagner's Swan Knight, Lohengrin--is thus not an axis because it provides a conduit or link between the worlds, but because the castle is itself a sacred object, made manifest in our world. The hierophany, the revelation of the sacred, appeared to Ludwig, and he revealed the already extant spiritual power of the mountaintop.

Other points of note:
-No architect designed the castle. A theatrical set designer drew the plans. Wagner himself hired the man.
-Even today, no one may take photographs inside the castle. The only way to see what the inside looks is, quite simply, to go there.
-Ludwig did not live to see the castle completed. A doctor commissioned by the state declared him insane in 1886, and the king was arrested and dragged out of Neuschwanstein. Both the doctor and the king were found drowned not long after.

Neuschwanstein is, in short, straight out of mythology, and wrought from pure archetype.

But, although it is almost without question the most fabulous (i.e. out of fable) castle in the world, and holds great wondrous power, it is still just an axis. It is a product of human design, and it must pale always before the true natural sacred, the Holy Mountain, before which Neuschwanstein is next to nothing:

50th Post: Tuesdays with Memento Mori

"A great verdant jungle valley with long fields of green crops opened before me. Groups of men watched us pass from a narrow old-fashioned bridge. The hot river flowed. Then we rose in altitude till a kind of desert country began reappearing. The city of Gregoria was ahead. The boys were sleeping, and I was alone in my eternity at the wheel, and the road ran straight as an arrow. Not like driving across Carolina, or Texas, or Arizona, or Illinois; but like driving across the world and into the places where we would finally learn ourselves among the Fellahin Indians of the world, the essential strain of the basic primitive, wailing humanity that stretches in a belt around the equatorial belly of the world from Malaya (the long fingernail of China) to India the great subcontinent to Arabia to Morocco to the selfsame deserts and jungles of Mexico and over the waves to Polynesia to mystic Siam of the Yellow Robe and on around, on around, so that you hear the same mournful wail by the rotted walls of Cádiz, Spain, that you hear 12,000 miles around in the depths of Benares the Capital of the World. These people were unmistakably Indians and were not at all like the Pedros and Panchos of silly civilized American lore--they had high cheekbones, and slanted eyes, and soft ways; they were not fools, they were not clowns; they were great, grave Indians and they were the source of mankind and the fathers of it. The waves are Chinese, but the earth is an Indian thing. As essential as rocks in the desert are they in the desert of "history." And they knew this when we passed, ostensibly self-important moneybag Americans on a lark in their land; they knew who was the father and who was the son of antique life on earth, and made no comment. For when destruction comes to the world of "history" and the Apocalypse of the Fellahin returns once more as so many times before, people will still stare with the same eyes from the caves of Mexico as well as the caves of Bali, where it all began and where Adam was suckled and taught to know."

-The defining paragraph in On the Road

Axis Monday: The System of the World in a Cartoon

(The above cartoon is by Alex Gregory and first appeared in the New Yorker on 18 February 2002. You can order merchandise here)

According to the explanation on the linked website, the people are Hollywood types in a hot tub.

Allow me to explain this obfuscated cartoon for you. Yup, this essay will be a rather unartistic ekphrasis on wonder. Haven't had one of those from me in a while, despite the promise in the header.

Unsurprisingly, the cartoon's obfuscation comes from its imagery, which is so terribly simple that you dismiss it outright.


All the human elements of the picture, both the people and the objects of their design, are crowded into less than a quarter of the image. The rest is dominated by three objects: the palm tree, the distant mountain, and the endless sky.

The quick and simple lines of these three carefully chosen objects reveal the meaning of the cartoon's captions. Mr. Gregory cleverly tears down the dichotomous wall between the two seemingly far-flung demes of Hollywood Glamour and those Muslims who see the world through a purely religious lens.

The religious see the world in terms of archetypes and revelations of the Sacred. They understand that man and his material world is just a tiny corner of all that Is. Hence the wise relegation of earthly things to the corner of the cartoon.

But although Hollywood does not see the world in the same way, the stories film tells accept that view of the world as though it were true. Campbell explained how the ubiquitous quest narrative is composed of equally ubiquitous archetypes. Hollywood's most traditional--and successful--tales all are versions of this one story, the same story which is shared to some extent or another by all the truly religious of the world.

Thus, the human element of the cartoon is by far the least important. Consider each of the other three images in turn.

First we have the endless sky, which takes up well over half the cartoon. It is self-evident, and corroborated in the literature of every culture which has yet come up in the course of Axis Monday, that the sky is the Sacred Realm, and it is either the emanation of all holy things or that from which they emanate. The world of the Sacred cannot in any way be understood by man; hence the seeming blankness, the pure white, of the inimitable sky in the cartoon. It is only natural that Mr. Gregory's cartoon juxtaposes the incredible force and power of the sacred with the smallness of man.

But Mr. Gregory spoons out the irony in droves, because despite the words of these moguls, only one of them truly understands all the implications of what they say. Only the third figure (of course it is the third. There are three sacred objects, three profane humans, and one prophet, who is third in the line of humans) looks skyward, and because this character faces away from us, we know nothing of her. All we can presume is that she does not speak. She alone stares upwards at the endless sky and understands that she is miniscule in comparison. The others are absorbed in their material objects and their banter. The others look at each other. She looks at Heaven.

The second symbol, of course, is the Holy Mountain. The Mountain is that natural point, the horizon, where the sacred meets the profane. It is vastly distant and vastly high, as evident in the picture. Humans can perceive it but, by and large, they cannot reach it. It is that liminal threshold between the worlds. Once in an aeon a man may stand upon the Mountain (few mortals indeed summited Olympus, by far the most obvious example; even today few humans have seen the heights of Ararat, next week's signature topic). Moses spoke to God upon Sinai's height but he ventured there alone. Innumerable other examples available on request. All great religious acts occur on or in the shadow of the Mountain. Thus it is ineffably remote from the conspicuous consumers, who tell stories in accord with the Mountain even as they themselves deny its veracity and efficacy.

But it is, of course, the palm tree which brings the entire piece together.
So many small elements here:

The palm is the symbol of many of the countries of the Middle East, notably Arabia and its city Mecca where Islam was born.

None of the four people in the picture look at the palm. Not even the fourth woman: her level gaze makes clear that she has eyes only for her compatriots. None of them have room for it in their lives.


Most important of all, note that the palm reaches from level ground, past the line of the Holy Mountain into the Endless Sky. It alone, of all the objects in the picture, reaches both the Sacred and the Profane.

The Palm Tree is the AXIS MUNDI.

The Sky is purely sacred. The Holy Mountain is the unapproachable barrier between the worlds. But the AXIS MUNDI, here represented aptly by the palm tree, which through its connotations with Araby evokes the MASJID AL-HARAM, is the only force capable of connecting the worlds. It is the hierophany, the divine revelation of the sacred to the human world, the vibrant and living proof that something exists that is greater than humanity. The Axis Mundi is the very center of the System of the World.

Every religion person knows this, in not so many words. At some point in the history of every religion, a great event has happened which revealed the sacred to man. This hierophany unveils the Axis Mundi, eternal, unchanging, hitherto invisible. And two worlds, at that one holiest place, become one.

Here it is the palm. The "Islamic fundamentalists" of the caption understand implicitly that the world of the Sacred is vast compared to the Earth. The Hollywood folks think they understand this, and thus think the fundamentalists should like them. They think they must be kin.

But all of the figures in the cartoon, save the one who is clearly silent, turn their backs on all three indicators of the sacred: the Mountain. The Sky. The Axis.

It's a great punchline. These earthly moguls truly do not understand why the most extreme among the Islamic faithful do not like them. They think they know the sacred, but all they see are dancing shadows on a cave wall, even though Truth surrounds them.

Axis Monday II: Living on Babel

Via BLDGBLOG:

Because "it takes too long to come down to ground level each day to make it worthwhile," a crane operator on the Burj Dubai – the world's tallest building – is rumored to have "been up there for over a year," the Daily Telegraph reports.
His name is Babu Sassi, and he is "a fearless young man from Kerala" who has become "the cult hero of Dubai’s army of construction workers." He also lives several thousand feet above the ground.

Their December article covers a good deal of the symbolism behind this story and is worth a read. Most intriguingly it discusses the mythologization of the construction worker, and uses the true life example of this man living atop the Burj Dubai to hint how real people become transformed into heroes immortalized in folklore.

In this case, the axis mundi transmits that legendary status directly. The Burj Dubai is certainly the profoundest symbol of Dubai (along with its artificial islands, more on those in the future, perhaps), and in a lesser sense of the secular Middle East and the world.

The unique status of the building thus imparts mythological status directly to its sole (?) inhabitant. No one cares if somebody lives in an unfinished three story tenement, except for the Law. But if you live thousands of feet above the ground, literally dwell in the sky, higher above the natural ground than any other human being--it would be shocking if the situation did not impart mystical power to this figure.

The gods which swept Europe and the Middle East as they left nomadism behind as a general rule displaced and replaced terrestrial gods, the Gaias and Earth Mothers of the world (This hypothesis is somewhat controversial and I surely will address it in great detail in the future, but for now take it at face value). These new gods as a general rule came from and lived in the Sky. Mt. Olympus is both indicative and obvious. The gods lived atop the Sacred Mountain--the axis mundi of Greece.

Mr. Babu Sassi, this cult hero of blue-collar Dubai, reigns from his throne in the sky in just the same way.

Axis Monday I: The Inauguration

I'll keep it short since everybody else is talking about this, but it fits right in with the purpose of Axis Monday, so I unfortunately am required to address the inauguration.

This will be the first in a series of Monday posts which celebrate the Axis Mundi. It seemed a fittingly liminal place to start.

Behold the glory of the Capitol, the Axis Mundi of the nation, bedecked for its greatest recurring festival. Even more exciting than Sundance.

The dome pierces the sky; it is in every sense the axis mundi, the heart of the world.

For years the federal Height of Buildings Act prevented any D.C. building from trumping the Capitol's height; a few other federal buildings now rise higher (mostly Cathedrals and Basilicas) but no private building stands taller.

And tomorrow is the hierophany, the revelation of the sacred, at this very space.


Let's talk about the word inauguration for a moment.

From the Online Etymology Dictionary:

1569, from Fr. inauguration "installation, consecration," from L. inaugurationem (nom. inauguratio) "consecration, installment under good omens," from inaugurare "take omens from the flight of birds, consecrate or install when such omens are favorable," from in- "on, in" + augurare "to act as an augur, predict" (see augur).

Romans were big on foretelling the future through birds and other omens. Tomorrow is a day of many omens, a sacred day, which shall set the future for a long time to come.

Will the omens be favorable?

Obama has made them so.


President Obama's journey by train to the capital these past few days has also been wrought with symbolism: deliberate parallels to Lincoln, but also the simple motif of the grand journey. Mr. Obama cleverly saw that a symbolic gesture of this sort would inspire the country more than wasting a few days in the city. He undertook a quest fraught with liminality, and tomorrow becomes actualized.

When is THE liminal moment?
CNN knows:

I don't make this stuff up, folks.

When Obama takes the oath, he shall--for those few moments--pierce the boundary between the earthly world and the sacred realm. He shall be a conduit, for a mere moment, of everything this country believes in.

All such times are transitory. The oath shall pass; its power shall linger through his inaugural address, and then his power shall fade and he will again become a mere man.

No matter what else transpires, it will be the greatest moment of Barack Obama's life, and it shall henceforth always have a hold on him. A second inauguration, should he prove so fortunate, lacks these same trappings. This is the first. This is the one that counts. For him more than other recent presidents, because of the burden placed on him and the hopes of the people.

Come what may--the inevitable failures and disappointments, the utter impossibility of fulfilling his promise--for this one moment he shall be everything, he shall be Perfect.

And once the speech finishes and the balls begin, life will go on for him and for everyone, and the door to the sacred will seal once more.

Armed Burglars Demand Man's Eggbeater

Via Yahoo:

TAMPA, Fla. – It really must have been a special item. According to the Hillsborough County Sheriff's Office, two men entered a man's home early Sunday and demanded his eggbeater. One suspect was holding a pistol while the other brandished a knife to the resident's neck.

Police caught the men outside the home and they are being held in Orient Road Jail. One suspect also faces a charge of aggravated assault.

Police found the eggbeater in the man's left pocket.

The first line sums it up. To us, this story just sounds odd, stupid even. But nobody breaks into a house just to be odd.

Somehow this eggbeater had powerful symbolic value to one or both of the robbers. The hardboiled detectives on the case have yet to figure out why, but it stood out to the criminals as an object of very special significance. It was sacred--worth risking their freedom over, even though it means nothing to the world at large. Perhaps the judge will go over easy if one of the robbers proves a Benedict Arnold.

They have seen a hierophany, the revelation of the sacred. We have not. The sacred is relative. What to us is scrambled to them is crystal clear.

No word from the victim on whether he's steamed that they almost poached something from him. I hope he looks at the sunny side of the situation: at least he got it back!

This story is so much better than it would be if the eggbeater had been made out of gold, or if it had belonged to Khrushchev. That sort of symbolism would be far too obvious.

No word on a possible sentence, but I don't think they'll fry.

Why do you think the eggbeater was special? Whip up your best story below!