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Eco: The Kircherian Ideology

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Athanasius Kircher (1602-80), Egyptian pyramids by Gioseffo Petrucci, Prodromo apologetico alli studi chiercheriani, Amsterdam, 1677, reprinted from Sphinx Mystagoga, a selection of images related to Athanasius Kircher in the Stanford University Archives, curated by Michael John Gorman, 2001. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“It would be idle to hold Kircher responsible for his inability to understand the nature of hieroglyphic writing, for which in his time nobody had the key. Yet his ideology magnified his errors.

“Nothing can explain the duplicity of the research of Kircher better than the engraving which opens the Obeliscus Pamphilius: in this cohabit both the illuminated image of Philomatià to whom Hermes explains every mystery and the disquieting gesture of Harpocrates who turns away the profane, hidden by the shadow of the cartouche.” (Rivosecchi 1982: 57).

The hieroglyphic configurations had become a sort of machine for the inducing of hallucinations which then could be interpreted in any possible way.

Rivosecchi (1982: 52) suggests that Kircher exploited this very possibility in order to discuss freely a large number of potentially dangerous themes–from astrology to alchemy and magic–disguising his own opinions as those of an immemorial tradition, one in which, moreover, Kircher treated prefigurations of Christianity.

In the midst of this hermeneutic bulimia, however, there glimmers the exquisitely baroque temperament of Kircher at play, delighting in his taste for the great theater of mirrors and lights, for the surprising museographic collection (and one has only to think of that extraordinary Wunderkammer which was the museum of the Jesuit Collegio Romano).

Only his sensitivity to the incredible and the monstrous can explain the dedication to the Emperor Ferdinand III that opens the third volume of Oedipus:

“I unfold before your eyes, O Most Sacred Caesar, the polymorphous reign of Morpheus Hieroglyphicus. I tell of a theater in which an immense variety of monsters are disposed, and not the nude monsters of nature, but adorned by the enigmatic Chimeras of the most ancient of wisdoms so that here I trust sagacious wits will draw out immeasurable treasures for the sciences as well as no small advantage for letters.

Here there is the Dog of Bubasti, the Lion Saiticus, the Goat Mendesius, here there is the Crocodile, horrible in the yawning of its jaws, yet from whose uncovered gullet there emerges the occult meanings of divinity, of nature, and of the spirit of Ancient Wisdom espied through the vaporous play of images.

Here there are the Dipsodes thirsting for blood, the virulent Asp, the astute Icneumon, the cruel Hippopotami, the monstrous Dragons, the toad of swollen belly, the snail of twisted shell, the hairy caterpillar and the innumerable other specters which all show the admirably ordered chain which extends itself into the depths of nature’s sanctuaries.

Here is presented a thousand species of exotic things in many and varied images, transformed by metamorphosis, converted into human figures, and restored once more to themselves again in a dance of the human and the savage intertwined, and all in accordance with the artifices of the divine; and finally, there appears the divinity itself which, to say with Porphyry, scours the entire universe, ordering it with all things in a monstrous connubium; where now, sublime in its variegated face, it raises its canine cervix to reveal itself as Cenocephalus, now as the wicked Ibis, now as the Sparrow-hawk wrapped in a beaky mask.

[ . . . ] now, delighting in its virgin aspect, under the shell of the Scarab it lies concealed as the sting of the Scorpion [these descriptions carry on for four more pages] in this pantomorphic theater of nature  unfolded before our gaze, under the allegorical veil of occult meanings.”

This is the same spirit which informed the medieval taste for encyclopedias and for libri monstruorum, a genre which reappears from the Renaissance onwards under the “scientific” guise of the medical studies of Ambroise Paré, the naturalist works of Ulisse Aldrovandi, the collection of monsters of Fortunio Liceti, the Physica curiosa of Gaspar Schott.

Here it is combined, with a quality of frenzied dissymmetry that is almost Borrominian, recalling the aesthetic ideals presiding over the construction of the hydraulic grottos and mythological rocailles in the gardens of the period.

Beyond this, however, Rivosecchi has put his finger on another facet of the Kircherian ideology. In a universe placed under the sign of an ancient and powerful solar deity, the myth of Osiris had become an allegory of the troubled search for stability in the world still emerging from the aftermath of the Thirty Years War, in which Kircher was directly involved.

In this sense, we might read the dedications to Ferdinand III, which stand out at the beginning of each volume of the Oedipus, in the same light as the appeals of Postel to the French monarchy to restore harmony a century before, or as the analogous appeals of Bruno, or as Campanella’s celebration of a solar monarchy, prelude to the reign of Louis XIV, or as the calls for a golden century which we will discuss in the chapter on the Rosicrucians.

Like all the utopian visionaries of his age, the Jesuit Kircher dreamed of the recomposition of a lacerated Europe under a stable monarchy. As a good German, moreover, he repeated the gesture of Dante and turned to the Germanic, Holy Roman emperor.

Once again, as in the case of Lull, though in ways so different as to void the analogy, it was the search for a perfect language that became the instrument whereby a new harmony, not only in Europe, but across the entire planet, was to be established.

The knowledge of exotic languages, aimed not so much at recovering their original perfection, but rather at showing to the Jesuit missionaries “the method of bearing the doctrine of Christ to those cut off from it by diabolic malice” (preface to China, but also Oedipus, I, I, 396-8).

In the last of Kircher’s works, the Turris Babel, the story of the confusion of tongues is once again evoked, this time in an attempt to compose “a grandiose universal history, embracing all diversities, in a unified project of assimilation to Christian doctrine. [ . . . ]

The peoples of all the world, dispersed after the confusion, are to be called back together from the Tower of the Jesuits for a new linguistic and ideological reunification.” (Scolari 1983: 6).

In fact, hungry for mystery and fascinated by exotic languages though he was, Kircher felt no real need to discover a perfect language to reunite the world in harmony; his own Latin, spoken with the clear accents of the Counter-Reformation, seemed a vehicle perfectly adequate to transport as much gospel truth as was required in order to bring the various peoples together.

Kircher never entertained the thought that any of the languages he considered, not even the sacred languages of hieroglyphics and kabbalistic permutations, should ever again be spoken. He found in the ruins of these antique and venerated languages a garden of private delight; but he never conceived of them as living anew.

At most he toyed with the idea of preserving these languages as sacred emblems, accessible only to the elect, and in order to show their fecund impenetrability he needed elephantine commentaries.

In every one of his books, he showed himself as a baroque scholar in a baroque world; he troubled more over the execution of his tables of illustrations than over the writing (which is often wooden and repetitive).

Kircher was, in fact, incapable of thinking other than in images (cf. Rivosecchi 1982: 114). Perhaps his most lasting achievement, and certainly his most popular book, was the Ars magna lucis et umbrae of 1646.

Here he explored the visible in all its nooks and crannies, drawing from his exploration a series of scientifically valid intuitions which even faintly anticipate the invention of the techniques of photography and the cinema.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 162-5.

Eco: Kircher’s Egyptology

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Athanasius Kircher (1602-80), frontispiece to Ars Magna Lucis et Umbrae, Rome, Scheus, 1646. Compendium Naturalis says that this allegorical engraving was executed on copper by Petrus Miotte Burgundus. Multiple copies are posted on the internet, including an eBook courtesy of GoogleBooks, one at the Max Planck Institute, one at the Herzog August Bibliothek, and one at Brigham Young University among many others. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“When Kircher set out to decipher hieroglyphics in the seventeenth century, there was no Rosetta stone to guide him. This helps explain his initial, mistaken, assumption that every hieroglyph was an ideogram.

Understandable as it may have been, this was an assumption which doomed his enterprise at the outset. Notwithstanding its eventual failure, however, Kircher is still the father of Egyptology, though in the same way that Ptolemy is the father of astronomy, in spite of the fact that his main hypothesis was wrong.

In a vain attempt to demonstrate his hypothesis, Kircher amassed observational material and transcribed documents, turning the attention of the scientific world to the problem of hieroglyphs. Kircher did not base his work on Horapollo’s fantastic bestiary; instead, he studied and made copies of the royal hieroglyphic inscriptions.

His reconstructions, reproduced in sumptuous tables, have an artistic fascination all of their own. Into these reconstructions Kircher poured elements of his own fantasy, frequently reportraying the stylized hieroglyphs in curvaceous baroque forms.

Lacking the opportunity for direct observation, even Champollion used Kircher’s reconstructions for his study of the obelisk standing in Rome’s Piazza Navona, and although he complained of the lack of precision of many of the reproductions, he was still able to draw from them interesting and exact conclusions.

Already in 1636, in his Prodromus Coptus sive Aegyptiacus (to which was added, in 1643, a Lingua Aegyptiaca restituta), Kircher had come to understand the relation between the Coptic language and, on the one hand, Egyptian, and, on the other, Greek.

It was here that he first broached the possibility that all religions, even those of the Far East, were nothing more than more or less degenerated versions of the original Hermetic mysteries.

There were more than a dozen obelisks scattered about Rome, and restoration work on some of them had taken place from as early as the time of Sixtus V. In 1644, Innocent X was elected pope. His Pamphili family palace was in Piazza Navona, and the pope commissioned Bernini to execute for him the vast fountain of the four rivers, which remains there today.

On top of this fountain was to be placed the obelisk of Domitian, whose restoration Kircher was invited to superintend.

As the crowning achievement of this restoration, Kircher published, in 1650, his Obeliscus Pamphilius, followed, in 1652-4, by the four volumes of his Oedipus Aegyptiacus. This latter was an all-inclusive study of the history, religion, art, politics, grammar, mathematics, mechanics, medicine, alchemy, magic and theology of ancient Egypt, compared with all other eastern cultures, from Chinese ideograms to the Hebrew kabbala to the language of the brahmins of India.

The volumes are a typographical tour de force that demanded the cutting of new characters for the printing of the numerous exotic, oriental alphabets. It opened with, among other things, a series of dedications to the emperor in Greek, Latin, Italian, Spanish, French, Portuguese, German, Hungarian, Czech, Illirian, Turkish, Hebrew, Syriac, Arabic, Chaldean, Samaritan, Coptic, Ethiopic, Armenian, Persian, Indian and Chinese.

Still, the conclusions were the same as those of the earlier book (and would still be the same in the Obelisci Aegyptiaci nuper inter Isaei Romani rudera effosii interpretatio hieroglyphica of 1666 and in the Sphinx mystagoga of 1676).

At times, Kircher seemed to approach the intuition that certain of the hieroglyphs had a phonetic value. He even constructed a rather fanciful alphabet of 21 hieroglyphs, from whose forms he derives, through progressive abstractions, the letters of the Greek alphabet.

Kircher, for example, took the figure of the ibis bending its head until it rests between its two feet as the prototype of the capitalized Greek alpha, A. He arrived at this conclusion by reflecting on the fact that the meaning of the hieroglyphic for the ibis was “Bonus Daemon;” this, in Greek, would have been Agathos Daimon.

But the hieroglyph had passed into Greek through the mediation of Coptic, thanks to which the first sounds of a given word were progressively identified with the form of the original hieroglyph.

At the same time, the legs of the ibis, spread apart and resting on the ground, expressed the sea, or, more precisely, the only form in which the ancient Egyptians were acquainted with the sea–the Nile.

The word delta has remained unaltered in its passage into Greek, and this is why the Greek letter delta (Δ) has retained the form of a triangle.

It was this conviction that, in the end, hieroglyphs all showed something about the natural world that prevented Kircher from ever finding the right track. He thought that only later civilizations established that short-circuit between image and sound, which on the contrary characterized hieroglyphic writing from its early stages.

He was unable, finally, to keep the distinction between a sound and the corresponding alphabetic letter; thus his initial intuitions served to explain the generation of later phonetic alphabets, rather than to understand the phonetical nature of hieroglyphs.

Behind these errors, however, lies the fact that, for Kircher, the decipherment of hieroglyphs was conceived as merely the introduction to the much greater task–an explanation of their mystic significance.

Kircher never doubted that hieroglyphs had originated with Hermes Trismegistus–even though several decades before, Isaac Casaubon had proved that the entire Corpus Hermeticum could not be earlier than the first centuries of the common era.

Kircher, whose learning was truly exceptional, must have known about this. Yet he deliberately ignored the argument, preferring rather to exhibit a blind faith in his Hermetic axioms, or at least to continue to indulge his taste for all that was strange or prodigious.

Out of this passion for the occult came those attempts at decipherment which now amuse Egyptologists. On page 557 of his Obeliscus Pamphylius, figures 20-4 reproduce the images of a cartouche to which Kircher gives the following reading: “the originator of all fecundity and vegetation is Osiris whose generative power bears from heaven to his kingdom the Sacred Mophtha.”

This same image was deciphered by Champollion (Lettre à Dacier, 29), who used Kircher’s own reproductions, as “ΑΟΤΚΡΤΛ (Autocrat or Emperor) sun of the son and sovereign of the crown, ΚΗΣΡΣ ΤΜΗΤΕΝΣ ΣΒΣΤΣ (Caesar Domitian Augustus).”

The difference is, to say the least, notable, especially as regards the mysterious Mophtha, figured as a lion, over which Kircher expended pages and pages of mystic exegesis listing its numerous properties, while for Champollion the lion simply stands for the Greek letter lambda.

In the same way, on page 187 of the third volume of the Oedipus there is a long analysis of a cartouche that appeared on the Lateran obelisk. Kircher reads here a long argument concerning the necessity of attracting the benefits of the divine Osiris and of the Nile by means of sacred ceremonies activating the Chain of Genies, tied to the signs of the zodiac.

Egyptologists today read it as simply the name of the pharaoh Apries.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 154-8.

Eco: The Egyptian Alphabet, 3

PE40_H78_F84_Horapollo_p128-9_Hieroglyphica

Horapollo (c. 5th century CE), Hori Apollinis selecta hieroglyphica, Romae: sumtibus Iulij Francescschini, ex typographia Aloysij Zanetti, 1599, pp. 128-9. Brooklyn Museum Libraries, Wilbur Library of Egyptology, Special Collections, call number PE40 H78 F84. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

Alciati’s commentary refers to the passage describing the stork in the Hieroglyphica. Yet we have just seen that there is no reference either to the feeding of the young or to the transport of the parents. These features are, however, mentioned in a fourth century AD text, the Hexaemeron of Basil (VIII, 5).

In other words, the information contained in the Hieroglyphica was already at the disposal of European culture. A search for traces of the stork from the Renaissance backwards is filled with pleasant surprises.

In the Cambridge Bestiary (twelfth century CE), we read that storks nourish their young with exemplary affection, and that “they incubate the nests so tirelessly that they lose their own feathers. What is more, when they have moulted in this way, they in turn are looked after by the babies, for a time corresponding in length to the time which they themselves have spent in bringing up and cherishing their offspring.” (The Bestiary, T.H. White, ed., New York: Putnam’s Sons, 1960: pp. 117-8).

The accompanying image shows a stork that carries a frog in its beak, obviously a dainty morsel for its young.

The Cambridge Bestiary has taken this idea from Isidore of Seville, who, in the Etymologiarum (XII, vii), says more or less the same. Who then are Isidore’s sources? St. Basil we have already seen; there was St. Ambrose as well (Hexaemeron, V, 16, 53), and possibly also Celsus (cited in Origen, Contra Celsum, IV, 98) and Porphyry (De abstinentia, III, 23, 1). These, in their turn, used Pliny’s Naturalis historia (X, 32) as their source.

Pliny, of course, could have been drawing on an Egyptian tradition, if Aelian, in the second to third century AD, could claim (though without citing Pliny by name) that “Storks are venerated among the Egyptians because they nourish and honor their parents when they grow old” (De animalium natura, X, 16).

But the idea can be traced back even further. The same notion is to be found in Plutarch (De solertia animalium, 4), Cicero (De finibus bonorum et malorum, II, 110), Aristotle (Historia animalium, IX, 7, 612b, 35), Plato (Alcibiades, 135 E), Aristophanes (The Birds, 1355), and finally in Sophocles (Electra, 1058).

There is nothing to prevent us from imagining that Sophocles himself was drawing on ancient Egyptian tradition; but, even if he were, it is evident that the story of the stork has been part of occidental culture for as long as we care to trace it.

It follows that Horapollo did not reveal anything hot. Moreover, the origin of this symbol seems to have been Semitic, given that, in Hebrew, the word for stork means “the one who has filial piety.”

Read by anyone familiar with medieval and classical culture, Horapollo’s booklet seems to differ very little from the bestiaries current in the preceding centuries. It merely adds some information about specifically Egyptian animals, such as the ibis and the scarab and neglects make certain of the standard moralizing comments or biblical references.

This was clear even to the Renaissance. In his Hieroglyphica sive de sacris Aegyptorum aliarumque gentium literis of 1556, Pierio Valeriano never tired of employing his vast stock of knowledge of classical and Christian sources to note the occasions where the assertions of Horapollo might be confirmed.

Yet instead of reading Horapollo in the light of a previous tradition, he revisits this whole tradition in the light of Horapollo.

With a barrage of citations from Latin and Greek authors, Giulio Cesare Capaccio displayed, in his Delle imprese of 1592, his perfect mastery of older traditions. Yet fashion now demanded that he interpreted this tradition in a Egyptian key.

“Without hieroglyphic observation,” and without having recourse to the Monas hieroglyphicaquel Giovanni Dee da Londino,” it was impossible, he said, to endow these images (coming from centuries of western culture) with their proper recondite meanings.

We are speaking of the “rereading” of a text (or of a network of texts) which had not been changed during the centuries. So what has changed? We are here witnessing a semiotic incident which, as paradoxical as some of its effects may have been, was, in terms of its own dynamic, quite easy to explain.

Horapollo’s text (qua text) differs but little from other similar writings, which were previously known. None the less, the humanists read it as a series of unprecedented statements. The reason is simply that the readers of the fifteenth century saw is as coming from a different author.

The text had not changed, but the “voice” supposed to utter it was endowed with a different charisma. This changed the way in which the text was received and the way in which it was consequently interpreted.

Thus, as old and familiar as these images were, the moment they appeared as transmitted not by the familiar Christian and pagan sources, but by the ancient Egyptian divinities themselves, they took on a fresh, and radically different, meaning.

For the missing scriptural commentaries there were substituted allusions to vague religions mysteries. The success of the book was due to its polysemy. Hieroglyphs were regarded as initiatory symbols.

They were symbols, that is, expressions that referred to an occult, unknown and ambivalent content. In contradistinction to conjecture, in which we take a visible symptom and infer from it its cause, Kircher defined a symbol as:

“a nota significativa of mysteries, that is to say, that it is the nature of a symbol to lead our minds, by means of certain similarities, to the understanding of things vastly different from the things that are offered to our external senses, and whose property it is to appear hidden under the veil of an obscure expression. [ . . . ] Symbols cannot be translated by words, but expressed only by marks, characters, and figures. (Obeliscus Pamphilius, II, 5, 114-20).”

These symbols were initiatory, because the allure of Egyptian culture was given by the promise of a knowledge that was wrapped in an impenetrable and indecipherable enigma so as to protect it from the idle curiosity of the vulgar multitudes.

The hieroglyph, Kircher reminds us, was the symbol of a sacred truth (thus, though all hieroglyphs are symbols, it does not follow that all symbols are hieroglyphs) whose force derived from its impenetrability to the eyes of the profane.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 151-4.

(Editorial Note: I must mention Mr. William Thayer, whose LacusCurtius site at the University of Chicago links to a whopping 51 complete texts by ancient authors and more. I stumbled across Mr. Thayer’s page as I linked to classical writers, and I find it to be both indispensable and a staggering contribution to online scholarship.

Thank you for this work, Mr. Thayer. I am one of the crazy ones out here in internet-land who realizes what you have done. With my best regards.)

Thoth, Scribe of Truth

Ra next sent for the god Thoth, and when he came into the presence of Ra, he invited him to go with him to a distance, to a place called “Tuat,” i.e., hell, or the Other World, in which region he had determined to make his light to shine.

When they arrived there he told Thoth, the Scribe of Truth, to write down on his tablets the names of all who were therein, and to punish those among them who had sinned against him, and he deputed to Thoth the power to deal absolutely as he pleased with all the beings in the Tuat.

Ra loathed the wicked, and wished them to be kept at a distance from him. Thoth was to be his vicar, to fill his place, and “Place of Ra,” was to be his name. He gave him power to send out a messenger (hab), so the Ibis (habi) came into being.

All that Thoth would do would be good (khen), therefore the Tekni bird of Thoth came into being. He gave Thoth power to embrace (anh) the heavens, therefore the Moon-god (Aah) came into being.

He gave Thoth power to turn back (anan) the Northern peoples, therefore the dog-headed ape of Thoth came into being. Finally Ra told Thoth that he would take his place in the sight of all those who were wont to worship Ra, and that all should praise him as God. Thus the abdication of Ra was complete.

In the fragmentary texts which follow we are told how a man may benefit by the recital of this legend. He must proclaim that the soul which animated Ra was the soul of the Aged One, and that of Shu, Khnemu (?), Heh, &c., and then he must proclaim that he is Ra himself, and his word of power Heka.

If he recites the Chapter correctly he shall have life in the Other World, and he will be held in greater fear there than here. A rubric adds that he must be dressed in new linen garments, and be well washed with Nile water; he must wear white sandals, and his body must be anointed with holy oil.

He must burn incense in a censer, and a figure of Maat (Truth) must be painted on his tongue with green paint. These regulations applied to the laity as well as to the clergy.

E.A. Wallis Budge, Legends of the Gods: The Egyptian Texts, edited with Translations, London, 1912. (No page numbers are given in my edition).

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