Jun 102011
 

From Skertchly’s 1874 Dahomey as it is (339-340):

The king’s strong names were then called out, the recital occupying nearly an hour. The victims were then placed with their heads bowed to the earth, while the message was delivered. The purport of it was as follows: — “Gelelé sends his compliments to his father, and declares that he would do all things as he had wished his son to do. He has made one Custom for him and now makes another, so that Gézu shall know that his son Gelelé does not forget him.” With a long ting-tang on the gong-gong the message was concluded, and preparations for the fearful consummation commenced. The rum bottle was opened, part poured out on the ground, and the remainder on the heads of the victims. The bunches of cowries were then laid on their heads for an instant, and afterwards placed before them. The cankie was placed in the waist cloths of the poor wretches, and then the executioner made his appearance. [...] He was armed with a long fish-slice-shaped knife, and carried a bunch of horse tails round his neck.

One of the victims was then brought to the front, and his head being bent forward, Bukau with one well-aimed stroke severed it from the body, which then toppled forwards, and the life-blood poured out over the ground.

From Herodotus’s Histories (4:94), in reference to the Getae, “the bravest and most law-abiding of the Thracians” (4:93):

This is the nature of their belief in immortality: they do not think that any one of them dies but that the one who perishes goes to the daimon Salmoxis. There are some among them who call him Gebeleïzis. Once in every five years they send off one of their number, who is chosen by lot, as a messenger to go to Salmoxis. They give him instructions in what they need on each of these occasions, and this is how they send him. Certain of them, who are appointed for it, hold three spears. Others seize the man who is to be sent by his arms and feet, and they throw him aloft so that he falls on the spear points. If he is pierced through and dies, the god, they think, is favorable to them. If he does not die, they blame the messenger, saying that he is a bad man; and once they have laid the blame upon him, they send off another messenger. The instructions they give are given to the man while he is still alive.


Continue reading »

Jun 092011
 

Entry (“1942, Berlin”) from The Portugal Journal of Mircea Eliade:

Gorneanu [a member of the Legation] takes me today to Carl Schmitt, who has wanted for a long time to know the true story about Nae Ionescu’s philosophy. A house in Dahlem, with very un-Germanic furniture, several modern paintings, and a library rich in old books. Carl Schmitt is a small man with a face not very impressive but luminous, animated. He speaks fluent French. I tell him that of his books I know only Die romantische Politik, which influenced Nae Ionescu, Ţuţea, and others very much. But instead of beginning a discussion about Nae, he asks me about Salazar, about Portugal, about maritime cultures—and we talk for three hours. He is writing a book about “land and sea,” and he has read enormously concerning aquatic art, culture, and symbolism. He says that Moby-Dick is the greatest creation of the maritime spirit after the Odyssey. He shows me several curious paintings by a modern German artist whose name I promptly forget: underwater, cosmological visions.

Since for many years I too have been studying such problems (Mǎtrǎguna), I let myself be drawn into interpretations of Austroasiatic symbols and myths that might interest him. I promise to send him Zalmoxis, vol. II, where I have published “Notes sur le symbolisme aquatique.” What impresses me about Schmitt is his metaphysical courage, his nonconformism, his breadth of vision. He reminds me of Nae [but with a more solid culture].

He offers us a bottle of Rhine wine. He is delighted to have met me and he regrets that I’m leaving tomorrow for Madrid. He says the most interesting man alive today is René Guénon [and he is happy that I agree]. He escorts us as far as the metro station, talking about aviation as a “terrestrial” symbol.