Modernism, Christianity and Apocalypse Studies in Religion and the Arts Editorial Board James Najarian (Boston College) Eric Ziolkowski (Lafayette College) volume 8 The titles published in this series are listed at brill.com/sart Modernism, Christianity and Apocalypse Edited by Erik Tonning Matthew Feldman David Addyman LEIDEN | BOSTON Cover illustration: Apocalypse en Lilas, Capriccio. Medium: Gouache, pencil, indian wash ink and indian ink on paper. Dimensions: 51 x 35.5 cm, Date: 1945. Reproduced courtesy of the Ben Uri Gallery and Museum, London. Inscription: Signed b.l. ‘Chagall’ Library of Congress Cataloging-in-Publication Data Modernism, Christianity, and apocalypse / edited by Erik Tonning, Matthew Feldman, David Addyman. pages cm. -- (Studies in religion and the arts, ISSN 1877-3192 ; VOLUME 8) Includes index. ISBN 978-90-04-27826-4 (hardback : alk. paper) 1. Modernism (Christian theology) 2. Apocalyptic literature--History and criticism. I. Tonning, Erik, editor. BT82.M625 2014 230.09’04--dc23 2014032789 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. issn 1877-3192 isbn 978-90-04-27826-4 (hardback) isbn 978-90-04-28228-5 (e-book) Copyright 2015 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Nijhofff and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. Brill has made all reasonable effforts to trace all rights holders to any copyrighted material used in this work. In cases where these effforts have not been successful the publisher welcomes communications from copyrights holders, so that the appropriate acknowledgements can be made in future editions, and to settle other permission matters. This book is printed on acid-free paper. Contents Acknowledgements ix List of Illustrations x List of Contributors xii Introduction 1 Erik Tonning Part 1 Christianity, Modernist Culture, and Visions of Apocalypse 1 Versions of the Wasteland The Sense of an Ending in Theology and Literature in the Modern Period 29 Paul S. Fiddes 2 The Cup of Sufffering Dietrich Bonhoefffer’s Discipleship and German Expressionism 53 Jacob Phillips 3 Christian Prehistories of Literary Modernism in G.K. Chesterton and Allen Upward 67 Suzanne Hobson 4 Modernist Anti-Modernists T.E. Hulme, “Spilt Religion” and “The Religious Attitude” 8㻜 Henry Mead 5 Between the Bang and the Whimper Eliot and Apocalypse 97 Katherine Ebury 6 Ezra Pound’s Eriugena Eschatology in the Periphyseon and the Cantos 109 Mark Byron 7 Péguy’s Apocalypse 123 Brian Sudlow vi Contents Part 2 Cultural Transitions and Political Apocalypses, 1900–1945 8 The Reason of Nature Revolution of Principles Around 1900 141 Hans Ottomeyer 9 Nazi Modernism and the Mobilisation of Christian Artists in the Third Reich 166 Gregory Maertz 10 James Strachey Barnes and the Fascist Revolution Catholicism, Anti-Semitism and the International New Order 187 Paul Jackson 11 “Till Armageddon, No Shalam, No Shalom” Ezra Pound and the Consecration of Politics in the Italian Press During wwii 206 Andrea Rinaldi 12 The Moot, the End of Civilisation and the Re-Birth of Christendom 222 Jonas Kurlberg 13 Old Dogmas for a New Crisis Hell and Incarnation in T.S. Eliot and W.H. Auden 236 Erik Tonning 14 Apocalypse Deferred W.H. Auden’s Anti-Totalitarian Vision 260 Hedda Lingaas Fossum Part 3 Still Waiting for the End? Post-World War II Readings of Apocalypse 15 Ezra Pound’s Political Faith from First to Second Generation; Or, “It is 1956 Fascism” 279 Matthew Feldman Contents vii 16 “Of What Disaster Is this the Imminence” “The Auroras of Autumn” and the Christian Apocalypse 301 Benjamin Madden 17 “History is Done” Thomas Merton’s Figures of Apocalypse 321 Mary Bryden 18 Apocalypse in Early ufo and Alien-Based Religions Christian and Theosophical Themes 339 Carole M. Cusack 19 The Apocalyptic Social Imaginary 354 Malise Ruthven Index 385 Acknowledgements The editors wish to acknowledge the Bergen Research Foundation and its patron Trond Mohn for funding the “Modernism and Christianity” project at the Department of Foreign Languages in the University of Bergen, thereby facilitating both the 2012 international conference where the essays in this volume were fijirst presented, and the editing process itself. In the articles by Andrea Rinaldi, Erik Tonning and Matthew Feldman, previously unpublished material by Ezra Pound is Copyright © (2014) by Mary de Rachewiltz and the Estate of Omar S. Pound. Used by permission. In Jonas Kurlberg’s article, permission to publish quotations from archival material has kindly been granted by the Special Collections at the Institute of Education, London, the Brotherton Collection at the University of Leeds, and Edinburgh University’s New College Library. Katherine Ebury’s article partially reproduces material from her “‘In this Valley of Dying Stars’: Eliot’s Cosmology,” Journal of Modern Literature Vol. 35, No. 3 (Spring 2012): 139–157. Mark Byron’s article partially reproduces material from chapter 1 of his mono- graph Ezra Pound’s Eriugena (Bloomsbury: London, 2014). Erik Tonning’s article partially reproduces material from chapter 3 in his monograph Modernism and Christianity (Basingstoke: Palgrave Macmillan, 2014). List of Illustrations The authors of the articles below acknowledge the following institutions for kind permissions to reproduce images: Deutsches Historisches Museum, Berlin; Kunsthaus, Zürich; The Unterlinden Museum, Colmar, Alsace; tate Britain; The British Museum; and The National Gallery of Art, Washington. In all other cases, the images in this volume are in the public domain. Figures 8.1 Children’s Work in the Largest Factory of Coloured Paper in Aschafffenburg, Leipziger Illustrierte Zeitung, 13. 11. 1858, p. 309 141 8.2 Robert Zünd, Der Eichwald, 1859, Zürich, Kunsthaus 143 8.3 Beech wood, Grumsiner Forest, 2012 143 8.4 Versailles, Petit Trianon, Belvedere and artifijicial rocks with waterfall by Richard Mique, 1777 145 8.5 Castle and park “Liselund” by Andreas Kirkerup, 1792/93, Island of Møn, Denmark 146 8.6 Franz Müller-Münster, “Arrestiert” (“Arrested”), from: Die Schönheit (1906/07), issue 1, p. 31 148 8.7 Ernst Haeckel, Seeanemonen (Actiniae) from: Kunstformen der Natur, Leipzig und Wien 1904, plate 49, lithograph 154 8.8 Ernst Haeckel, Die Radiolarien (Rhizopoda Radiaria). Eine Monographie, Berlin 1862, plate 22 155 8.9 Karl Blossfeld, seed capsule of a Scabiosa prolifera, eightfold enlargement, from: Wunder in der Natur. Bild-Dokumente schöner Pflanzenformen, Leipzig 1942, p. 31 156 8.10 Model of a Coccolith, Geocenter Møns Klint, Island of Møn, Denmark 157 8.11 Glass window by Tifffany, Lyndhorst, Tarrytown, New York 158 8.12 Art nouveau vase with mistletoe, New York, Metropolitan Museum 159 8.13 Art nouveau vase with seahorse, New York, Metropolitan Museum 160 8.14 House and Garden of Emil and Ada Nolde, Seebüll, Schleswig-Hohlstein, designed by the artist in 1927 161 8.15 Hugo Höppener (Fidus), “Lichtgebet,” 1924, oil on canvas, 150 x 100cm, Berlin, Deutsches Historisches Museum 162 9.1 Oskar Martin-Amorbach, Madonna, 1933. Whereabouts unknown 181 9.2 Richard Heymann, Des Volkes Lebensquell, 1937. Berlin, Deutsches Historisches Museum 182 List Of Illustrations xi 9.3 Ferdinand Spiegel, Kameraden, 1937. Berlin, Deutsches Historisches Museum 184 9.4 Deposition from the Cross. 17th Century. Strasbourg Cathedral 185 15.1 Mussolini’s “Believe, Obey, Fight” 281 15.2 First page of Virginians on Guard 296 15.3 “Ezra Pound returned to Italy today and hailed his adopted nation with a Fascist salute,” The New York Times, 9 July 1958 297 16.1 Stills from footage of Operation Doorstep, showing one of the model houses demolished by a shock wave, 1953. Photo courtesy of National Nuclear Security Administration/Nevada Field Offfijice 304 16.2 Scenes from inside one of the Operation Doorstep houses, before and after the nuclear detonation, 1953. Photos courtesy of National Nuclear Security Administration/Nevada Field Offfijice 305 16.3 Matthias Grünewald, Resurrection panel from the Isenheim Alterpiece, 1512–16, in the Unterlinden Museum, Colmar, Alsace 310 19.1 John Martin, The Last Judgement c. 1849–53. Oil on canvas 198.8 × 325.8 cm 364 19.2 John Martin, The Plains of Heaven 1851–3. Oil on canvas 198.8 × 306.7 cm 364 19.3 John Martin, The Fall of Babylon 1831 Mezzotint with etching 46.4 × 71.9 cm 366 19.4 The Senate House, University of London 366 19.5 John Martin, Joshua Commanding the Sun to Stand Still Upon Gibeon, exhibited 1816. Oil on canvas 150 × 231 cm 367 19.6 Albert Speer, “People’s Hall” [“Volkshalle”] seen through the triumphal arch. Model for the “Welthauptstadt Germania” [“World Captial, Germania”] project 367 List of Contributors David Addyman was awarded his PhD in 2008 for his thesis, ‘Beckett and Place: The Lie of the Land’, which was supervised by Professor Andrew Gibson at Royal Holloway, University of London. He is Archival Research Fellow in the Bergen “Modernism and Christianity” project, 2011–2014, and a co-editor of the present volume. He has published articles on Beckett in various edited volumes, journals, and pub- lished conference proceedings. He is currently working on a book, Modernism and Place. Mary Bryden is Professor Emeritus of French Literature at the University of Reading, where she is also an Adviser to the Samuel Beckett International Foundation.