Douglas Mercer
March 21 2025
Maybe some immortal historical figure will appear sooner or later in this century to straighten things out—John Massaro
Legend has it that, though Hitler had decided not to survive his Reich, at the last moment he was urging his men to make their escape. One of his most devoted followers asked him: But after this, what will I live for? And Hitler told him with encouragement and confidence and a kind of holy fervor: For the man to come!
Spengler predicted that about the year 2000 Western civilization would enter the period of pre death emergency which would lead to 200 years of Caesarism (extra-constitutional omnipotence of the executive branch of government) before Western civilization's final collapse
Caesar comes late in time, he comes in the winter. By the term Caesarism it is meant that kind of government which irrespective of any kind of constitutional formulation it might have is in its inward self a return to thorough formlessness. It does not matter that Augustus in Rome disguised his position under antique forms. The spirit of these forms was dead. And so all institutions however carefully maintained would henceforth be destitute of all meaning and life and real weight. Now real majesty is sent out in the holy person of Caesar and is exercised by him.
It is a return to cosmic primitiveness and a world without history. Biological stretches of time take the place vacated by the historical period. Now at the new beginning there stands the miracle of the Cosmopolis. Now comes a historical insolence, and as a symbol of the vast formlessness it draws within itself the being streams of biological time in the light world of human eyes. Standing beyond the possibilities of cosmic foundation gigantic and eternal cosmic forces overcome the intellectual tension of the centuries.
A new and overpowering factor emerges which penetrates to the very elementals of becoming: Caesar. The powers of the blood unbroken resume their ancient lordship, race springs forth pure and irresistible, the strongest win and the residue is their spoil. They seize the world and the world of books and intellect petrifies from memory. From now on new destinies in the stars are possible again, fresh and visible to the consciousness, without the cloak of bitter illusion.
***
Yet against all the doubts a new form of greatness was conceived—historical greatness. Hegel saw Caesar as the executive arm of the world spirit. Mommsen interpreted history as a series of tributaries which led into Caesar’s mighty river. Having been groping in the dark for so long Caesar’s appearance on the scene was an epiphany, historical necessity made manifest. Even when he destroyed he acted fully in accord with the laws of historical evolution. When he appeared Roman Society was in disarray and drifting towards destruction, decadence and decay and could not gain a purchase or defend itself, being at the mercy of the train of events in which it was caught up.
Caesar was able to secure a position outside of this drift and was able to dominate the whole. Through him Rome was able to become subject to conscious action and affairs were once more in human hands. In doing so he ordered both the present and future destiny of the world. This man who fulfilled this historical destiny was the perfect human being. He was a man of immense creativity yet gifted with a penetrating intellect, supreme will and achievement, a complete man, born to be a King. He was the most gifted of mortals, all others who are great are one sided in comparison to him. He was the right man whom all followed.
As an outsider he was able to build up a power base independent of Rome. Unable to forge any real links he stuck tenaciously to his own course and relied on his own resources. He maintained his integrity and did not fall prey to compromise. This accounts for the extraordinary freedom he enjoyed. He was beset by great dangers, obliged to meet the highest demands, and was sustained wholly by his own energy and so built up his own position and was able to create his own world. Here he could give free reign to all the potentialities that lay within him and the dynamism with which he confronted Rome became ever more powerful and overwhelming.
The way which Caesar played this game—risking his own existence, raising the stakes, always doubling down as it were, seeking out immense opportunities—affords an absorbing spectacle.
If this protagonist is still able to fascinate us it is because what we see enacted is essentially our own concern as well. We see it in all seriousness. For every age finds its great man when the time of crisis occurs, however tardily or late. And when the man comes he will be an outsider who can find no cause to attach himself to and in the end he will simply form a new reality and a new system to emerge in place of the old.
***
Having just encountered a Norwegian force on its way to contest a little patch of ground in Poland, the Prince of Denmark once again upbraids himself for being unable to act decisively. Commanded by his father's ghost to avenge his murder, Hamlet has as yet been unable to do the deed.
Although Fortinbras makes only two brief appearances in the latter half of the play, he is referred to throughout: King Claudius sends ambassadors to Norway in the hopes of staving off his invasion, and they return with the news that Fortinbras will attack Poland but leave Denmark alone. At the very end—after all the major characters except Horatio are dead—Fortinbras and his army enter the Hall, accompanied by ambassadors from England.
With the throne of Denmark now vacant, Fortinbras is to be crowned ruler. In the play he performs the function of a leitmotif of action, resolve and power, a figure hovering obscurely but inexorably on the margins of the drama, circling it about like inevitable fate; and like a persistent and inexorable drum beat he moves closer and closer to the center of the drama; until finally like a deus ex machina which would often cut off the action of Greek plays he appears on the scene to draw the curtain down.
Corruption and madness and intrigue have reigned in Elsinore, and the great Hall of Kings is strewn with a bloody scene of rapier, poison and slaughter. As the actors die one by one the drums and shot are heard in the distance and it is asked: what warlike noise is this?
Young Fortinbras
With Conquest comes
And brings
This warlike volley
As the denouement reaches it close the election lights on Fortinbras and Hamlet gives him his dying voice.
As Hamlet dies the new King marches within with trumpets, banners and fanfare and looks upon the bloody spectacle. What a sight is this he says, this quarry cries on havoc. He says that he will embrace his fortune as he has some rights in the memory of this kingdom which does invite him.
For the most high-handed one has come home to become the Rightful King and the curtain is brought down.
Go, bid the soldiers shoot.
