It shouldn’t be thought that only neo-Nietzscheans like us, or historians like Tom Holland, believe that today’s secular liberalism is Christian-inspired. On 27 February 2012 I started to write some notes on a series still watchable on YouTube, The Western Tradition by the normie historian Eugen Weber. Those notes, which I wrote a dozen years ago in a notebook that I reread after midnight, mention some white nationalist personalities with whom I had not yet distanced myself. Here is my translation to English of those 2012 notes:
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Absolutely fascinating is Eugen Weber’s programme #43 for understanding our century. Although it deals with the 21st century it sheds enormous light, especially what he said almost halfway through the programme: that in 1848 they emancipated the slaves and that the emancipation of women would still take a long time—which means that Weber moves in the liberal framework of the 20th century.
Fascinating, I say, because now that I’ve posted an entry on The West’s Darkest Hour about the debate in The Occidental Observer about the holocaust, it’s becoming increasingly clear that the monocausalists [those who believe that only the Jews have caused the Aryan decline] are wrong.
How clear. Conservative Swede is right. All that evil started in the French Revolution. Hunter Wallace discovered the same thing with his analysis of the United States. Mark Weber, too, in his quotable quote about the American Constitution, saw the ‘rights of man’ as the virus that infected, and in our century exploded in full force, the West.
The infection comes from whites.
The French Revolution is like Christianity 1,600 years ago: cultural suicides.
Pride. Megalomania. Hubris.
Remember that in programme #43 of Eugen Weber’s series, the historian mentions Rousseau and Shelley, who by the way killed their children [cf. Paul Johnson’s The Intellectuals]. He also recalls that Weber also mentioned the novel Ivanhoe where ‘the heroine is a Jewess’ amid the century of the emancipation of the Judas [a derogatory term in Spanish for Jews]. And remember that Weber said that the common man was more influenced by the novel than by Marx’s texts.
How clear, isn’t it?
Romanticism so understood was another suicidal Christianity. What happened in the 20th century was the culmination of that infection (with Jewish help, of course; but, as Wallace says, white society had already gone down that road).
Actually, despite everything I read in The Occidental Observer, I increasingly blame whites for their own misfortune. If Linder were right, Norwegians wouldn’t be so infected with suicidal liberalism [when I wrote that I had in mind that there were very few Jews in that country].
In episode #44 Weber says: ‘And this point of view which combines empathy, charity and guilt (emphasis in his voice) is very much with us today’.
How clear!
Weber refers to the social projects of the 19th century after the hell that Doré and Dostoyevsky saw in London. Therein lies the root of what was to become ‘deranged altruism’. How clear and transparent!
In this episode #44 Weber speaks for the first time about the white race, and says that with their ideologies whites caused the overpopulation of non-whites in the colonies. He even uses the word ‘stupidity’ and mentions the missionaries!
That only the Judas are the usual suspects is pure bullshit. The virus was already in place before that. Besides, it was at the end of the 19th century that the ‘mass culture’ with its fucking sports and empty heads started. Now it is infinitely worse!
At the end of the penultimate programme of his series, Weber spoke well of the contraceptive pill: as the greatest advance for women, even more than women’s suffrage. Neither he nor other liberals saw the demographic consequences: white suicide!
It is clear that all this axiology/memeplex came not only from the Judas but from the me, me, me generation! In the previous programme, by the way, Weber said that after WWII Europe’s self-confidence had collapsed. Remember what Kenneth Clark said in Civilisation: the loss or gain of confidence is pivotal for a civilisation to flourish…
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Dr. Robert Morgan points out that Harriet Beecher Stowe’s novel Uncle Tom’s Cabin caused the American Civil War. Henry Ward Beecher, a relative of Harriet’s, was America’s most popular preacher in the 1800s. The Battle Hymn of the Republic is actually a rewrite of an ode to Calvinist Lunatic, John Brown. ‘As Christ died to make them [i.e. negroes] holy; let us die to make them free…’ were the original lyrics to this hymn. The Christ-Insane equality delusion led to at least 600,000 deaths fighting to make negroes free in emulation of Christ’s death on the Cross to redeem negroes. The American Civil War is really a war of religion, and it was the deadliest Christian War up till that point. Countless other wars concerning the correct way to practise the cult of the hoisted Rabbi as well. Christianity killed off a third of Germany’s population during the 30 Years’ War.
The masses do not consume dry philosophical treatises on the ethics of slavery. The masses need to be entertained, and only when they are entertained can they be tricked into learning anything. They need a novel, or, in today’s world: they need something on TV. This is why Hollywood pumps out so many Holocaust movies. Millions of people have seen Schindler’s List (1993), however how many people have read a book on World War II or the Holocaust? As I say: the entertainment industry—and, especially, including the Sportsball industry—is a propaganda department.
And the same thing that happened in 19th-century Europe with Ivanhoe happened in the United States with Ben-Hur: idealising the Jew on this side of the Atlantic, and also through Christian inspiration.
The esoteric and exoteric.
We spread the esoteric in the shadows of the internet, but the exoteric is completely under the control of the system.
How do we reach them at this point? I wonder.
I have always hated tv sport games and the fanaticism people have for them. The pilgrims they make just to make it to the stadiums and watch someone else playing a ball game is amusing. Spectator mentality.
I have seen both of the Ben Hur films. The more recent of the two has Morgan Freeman in it. Neither of these two films are bad. However, the book is hard to get through, and I have given up on it a number of times. Lew Wallace paints the ancient Palestinian desert with way too much detail, and this gets tedious, and difficult to visualise. A good author allows the reader’s imagination to paint the scene and the characters, as much as possible.
In the book, we have Joseph trying to secure a guest room for the first Christmas night, by telling people that he is a descendant of King David. The Jews of Bethlehem were not impressed by this, and neither ought we white Aryans be impressed by the Davidic lineage of Jesus and Joseph.
This scene in the Wallace book is the perfect illustration of what Marcus Eli Ravage said: this petty bandit chieftain, and foreskin harvester from Jewish folklore, David, has become a central figure in our European Mythos. Countless Europeans are named after this Jewish brigand chieftain.
Interestingly, if one should watch the special features of the 1959 film, the producers said that they shot it as though Mesala and Ben Hur had had a homosexual triste in their adolescence. I had picked up, alright on a weird energy between Mesala and Hur, and the producers confirm this weird Homoerotic energy in the special features.
However, as I said before: this film liberated me by allowing me to hate. Quintus Arrius says to Hur in a beautiful Received Pronunciation English Accent: ‘You are full of hate, 41! That is good! Hate keeps you going: it keeps you alive!’ As Christopher Hitchens said: ‘You can love your own fucking enemies: don’t you dare try to love mine!’
There was also a silent Ben Hur that I must watch, at some point. Although this in itself is interesting: three major motion-picture productions of Ben Hur have been filmed in about 100 years. I think that there was a stage play as well. I think even that some audience members were killed, as they had horses on a treadmill for the chariot sequence, and sometimes these horses bolted and killed an audience member or two.