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An Essay On Political Myths: Anarchist Myths of Revolt

Published online by Cambridge University Press:  01 July 2024

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When, under the tutelage of the “Fathers” Enfantin and Saint-Amand Bazard, the disciples of Saint-Simon were initiated into the exemplary “proletarian” life, they were re-enacting the ways of the first Christians. Styling themselves as “apostles,” by way of justifying their doctrines, they invoked the authority of myth. The “City of God” referred to in their vows was no Utopian invention, but the “New Jerusalem,” the recreation of the original city; the New Book summarizing the ideology of a radical renovatio, was the sacred text of a New Christianity. To the avowed Saint-Simonians, the Golden Age was not the source of some irrepressible nostalgia, but rather the promise of a social perfection that must be realized upon Earth in the more or less immediate future. The pilgrims of Ménilmontant were not unfamiliar with the myth of the Three Ages : did not one of them translate into French Lessing's “incendiary” essay on The Education of the Human Race? (Even while that new interpretation of millennial prophecy by the Calabrian abbot was, through Hegel, Schelling, and Fichte, infiltrating into libertarian socialism and Marxism.)

Type
Research Article
Copyright
Copyright © 1976 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)

References

1 Joachim de Fiore (1130-1202) was perhaps Europe's first "futurologist." His prophecies are characterized by a scheme of predictions which is also to be found both in Schelling's essay, and in those philosophies of history which prolong the period of messianic expectation. Humanity has reached the end of the second age, and the onset of the third age — The Revolution and socialism — is announced by a period of cataclysmic troubles. Traces of this are also evident both in Marx's dialectical materialism and in Moeller van den Bruck's Germany's Third Empire, (via The Christianity of the Third Testament, by the Russian Merejkovski).