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WDH – pdf 64
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As for the clothing of symbolic animal skins, it obeys a shamanic, totemic and pagan tradition to the core, and we pay attention to this because it expresses a very important idea.
The wolf and the bear are signs of free masculinity—pure, wild, fertile and unrestrained. The skin of the bear or the wolf was achieved by fighting the animal in body-to-body combat and killing it. An initiatory test of the berserkers as well as among some Celts was killing a boar.
The berserkers were thus suggested that they seized the totemic qualities inherent in the animal in question—bear or wolf—acquiring their strength and ferocity, possessing their qualities as if they had conquered for themselves, and adopting the skin of the vanquished beast as symbol of this transformation. As a sign of prestige, many berserkers added the word björn (bear) to their names, resulting in names such as Arinbjörn, Esbjörn, Gerbjörn, Gunbjörn or Thorbjörn. The wolf (proto-Germanic ulf) resulted in names like Adolf, Rudolf, Hrolf or Ingolf.
Mircea Eliade said regarding the appropriation of animal skins that the man became a berserkr after an initiation that specifically involved warrior tests. Thus, for example, among the Chatti, Tacitus tells us, the applicant did not cut his hair or his beard before killing an enemy. Among the Taifali, the young man had to shoot down a boar or a bear and among the Heruli it was necessary to fight without weapons. Through these tests, the applicant appropriated the form of being of the beast: he became a fearsome warrior insofar as he behaved like a beast of prey. He transformed himself into a overman because he managed to assimilate the magical-religious force shared by the butchers.
Once again, this will be seen as primitive and barbaric, but the Romans did it as well, as we can see in the standard bearers of the legions, which were covered with skins of wolves, bears or wild cats (as a Barbarian Indo-European people, the ancient peoples of the Italian peninsula, ancestors of Latins, should have had their own version of the ‘possessed warrior’).
Also the Greek hero Heracles, after fighting a monstrous lion and killing him with his bare hands, put on his skin. The Irish Cú Chulainn killed a monstrous mastiff and took his place as guardian of Ulster. Siegfried, the hero of Germanism, bathed in the blood of the dragon Fafnir, killed by him, and with it he became almost invincible.
In the mysteries of Mithras, a restricted military cult only for men and practiced by the legions of Rome, the initiates were covered in the blood of the sacrificed bull in a ceremony of high suggestive power.
In the same line of related examples, we have other cases that refer to ‘second skins’ and hardening baths: Achilles was bathed by his mother in the waters of the dark Styx River, which made him invulnerable.
The Celtic goddess Ceridwen possessed a magical cauldron that gave health, strength and wisdom to all who bathed in it. Spartan mothers bathed their newborns in wine, because they thought that it hardened the hard and finished off the soft.
The waters of the Ganges, even today, are considered healthy for the Hindus. The idea behind all these myths was that exposing oneself to destructive, telluric and dark forces would help to harden the ‘envelope’ of the initiate and protect him in the future against similar experiences in the field of death and suffering.
All this symbolised, in addition, the struggle of the spirit to take control of the telluric beast, after which it was covered with the conquered; it entered the empty shell, possessed it, transformed it in its image and likeness and, at the same time, changed his personality for a different one, entering a new phase and also symbolising the transition to a new way of perceiving the environment and seeing things—a new skin, a new shell, a new shield—; the perception of the world through the senses of the beast; to take possession of matter and, from within, transform it into the image and likeness of the spirit.
This philosophy of possession is a characteristic feature of all initiatory warrior societies. In certain elite units of the Nazi SS, one of the tests was to fight, unarmed and bare-chested, against a wolfhound or a raging mastiff. As reminiscent of all these issues in the middle of the 19th century, the Imperial Hussars of the II Reich, heirs of the elite warrior units of Germanism, sang: ‘We dressed in black / blood we bathed / with the Totenkopf in the helmet / Heil! / We are invincible!’
Those Berserkers who fought naked were related to the behaviour of the early Celts, who also did it (in fact, the figure of the ‘possessed warrior’ was also recurrent among the Celts). Their bodies, tanned from childhood, did not feel cold even if they were naked on the snow. As we have said, some of them also painted themselves in black, vindicating the dark and fiery side, typical of the ages in which light is harassed.
We have already seen how the Roman Tacitus described the Harii who, painted and with black shields, launched themselves into combat with superhuman ferocity. For the ancient Indo-Iranians, the god Vishnu in the dark ages was dressed in dark armour to fight the demons, hiding to the world his luminous appearance. But at the dawn of the new golden age, he would strip off his black breastplate and the world would know his luminous inner aspect.
In Iran, the männerbund of the Mairya wore black armour and carried black flags. Symbolically, it was said that they killed the dragon, and usually they acted at night. The Cathars were dressed in long black robes, and their religious banners were black (some with a white Celtic cross inside). Also the SS dressed in black and wore black flags, in addition to the macabre Totenkopf which symbolised the domain of the darkness; of what belongs to the left hand, to the sinister side, fear, death and horror.
To dominate and to know the enemy is to dominate and know the bear, the wolf, the dragon, the bull or the totemic animal that the fighting man discovers in himself. To cover oneself with black is to cover oneself with the skin of the enemy beast, because darkness is the enemy—until it is dominated.
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The Rite of Spring
You completely missed the point of Soberana’s essay, although I still have to translate the other half. To put it in philosophical terms, whites are dying because they fell prey of ‘the Empire of the yin’. What whites need is that the pendulum strikes back all the way toward the savage Yang.
Why? For the simple reason that the yin inertia has moved the West so far to the Left that the pendulum must return with vengeance to the other extreme of the pendulum’s arc: the ultra-Right.
To put it in musical terms I’ll rephrase Pierre Boulez, who conducted The Rite of Spring when I was much younger. In a very astute review of Stravinsky’s most famous opus, Boulez said that it represented an explosive return to the barbaric invasions of yore, if compared to classical music.
You also have to read what Pierce says about the Vikings in Who We Are, which is about the same that Soberana says. On this site I have complained a lot that those whites who fancy themselves as protectors of their race haven’t read Pierce’s only non-fiction book. Sometimes I caress the idea of not bothering to reply to commenters who have failed to read it.
I would recommend listening to The Rite of Spring and compare it to, say, the classic music of Hayden or Mozart. Tell me which spirit contemporary Aryans will need in the coming Revolutionary times: classicism or a return to horned barbarism?
Editor’s note: Many painters have imagined the agony in the Garden of Gethsemane with Semitic or mudblood characters. You can imagine the catastrophe for the Aryan psyche when handsome White statues and paintings of Roman frescoes representing Whites was abandoned in favour of Semitic models!
What I like about Fra Angelico is that he Nordicizes his characters. This, for example, is one of the panels of the Florentine convent of St. Mark. In any case, had there been no Judeo-Christian hostile takeover in the 4th and 5th centuries of our era, these medieval painters would have painted Nordic figures without the need of biblical passages.
Below, an old comment from a thread that the website Renegade Tribune removed:
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I could not agree more with this [Axe of Perun’s] article. I am regular listener of the Political Cesspool radio show, and while I like their pro-White message and pro-Southern message—I really do get turned off in a big way, when they start banging their drum for Christianity. These guys have even said that the pro-White movement has no chance of success, unless we all wrap that Jewish written, white racial suicide pact/dog collar around our White necks.
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Holy wrath, 5
As you can see, the reasons are as varied as the opinionated characters that advance such theories. The best-known explanation, however, is that these men fought drugged. According to this theory, the berserkers ingested a fungus called amanita muscaria (a white-stem mushroom with red cap and white spots, which abounds in the birch forests of northern Europe), or some concoction prepared with that mushroom. This has a high toxicity thanks to an alkaloid called muscarine, which completely alters consciousness and perception.
Currently it has been classified as ‘poisonous’, given that in high doses it is deadly. The theory of the amanita muscaria was elaborated in 1784 by the Swedish professor Samual Ödman (who learned about the use of the mushroom by Siberian shamans). It was considered plausible to a certain extent because the Germanic mythology explained that, from the mouth of Sleipnir—Odin’s horse, with eight legs—, it dripped a red foam that, when reaching the ground, became the mushroom. Other drug theories suggest beer with black henbane or bread or beer contaminated with rye ergot.
The theory of drugs is unconvincing, and the two previous facts (Siberian shamans and Odin’s horse) are the only evidence we have to corroborate this thesis. On the other hand, the simple ingestion of a drug does not guarantee by itself an outburst of devastation and warlike frenzy like that experienced by the berserkers. If they actually ingested a drug, it would have been after a long and harsh ascetic and warlike preparation that would have made them resist the possession of the Od, with doses carefully thought for by true connoisseurs of their effects, and with rites designed to enhance and channel certain aspects related to the substance.
Equally unlikely is the theory that the berserkergang was triggered by a kind of ‘hypnotic programmer order’ that was stored in the subconscious through a violent and traumatic ritual initiation, automatically ‘activated’ by listening the noise of the weapons, the battle cries and the chants that invoked Odin’s fury; giving rise to the irresistible longing to be at the centre of the battle, where the fight was fiercer and the wrath more concentrated.
It is most likely that the berserkergang’s attainment techniques were mental or psychological, through hypnotic processes catalysed by powerful rituals, and surely amplified through tribal dances, movements, techniques and breathings capable of generating huge amounts of adrenaline in a short time. And if the drugs were really present, it would have been to facilitate possession, but in no case were they directly responsible for the incredible combative performance that was unleashed with it.
The ornamented hilt of a Viking sword.
Substances released by drugs can be stimulated in the body through purification practices. In the initiatory traditions, when the man gets absolute control over his body, he can stimulate his organs and glands at will, releasing the substances he wants and causing the effects he wants, just knowing how to materialise the thought. Ideally, the drugs that are used come from our own interior, because they are already inside us—such as testosterone, adrenaline, dopamine, pheromones and endorphins. They only need a stimulus to free themselves.
The religious use of drugs appeared at a time when most people were no longer able to go into a trance naturally. And in any case the ingestion of drugs for religious purposes was carried out under strict control and ritualism, and on individuals physically, mentally and spiritually prepared to withstand their effects; everything watched over by the wise about the natural sciences, knowledgeable about plants, animals and the Earth.
During situations of great stress and violence, the body is disturbed. The pulse increases, the breathing accelerates and the adrenaline rises like a flame. A series of physiological responses take place that in themselves are neither good nor bad, but their nature will depend on the use made of them and the output that is given to them. The conventional ‘chivalrous’ warriors tried to dominate the torrent of reactions and sensations that caused the combat so that, keeping their will above them, retained the ‘cold blood’ and consciousness intact.
The berserkers, on the other hand, seemed to do the opposite: they let themselves be carried away by the physical reactions to the fight, so that they took possession of them and ended up into beasts that ‘saw everything red’. Out of them came a totally independent will of consciousness. Only the best were tough enough to really let themselves be carried away by the torrent of ferocity to release their impulses savagely, to lose control, to break all ties in order to allow the beast to ride free, to savour the deep and primitive pleasure of the butchery, bloodletting, slaughter, domination, possession and destruction; submerging all their being in absolute chaos and surviving to be able to tell about it—although it is very probable that afterwards they did not even clearly remember what happened.
Is all this a wild barbarism? Yes, but it is part of human nature, whether you like it or not. Turning our backs on those issues only serves to catch us off guard later. To ignore that we have an animal side is like mutilating the spirit and sabotaging the body. Conversely, to accept this and to master it is to reconcile ourselves with ourselves.
In Old Norse mythology, the einherjar means literally ‘army of one’ or ‘those who fight alone’; those who have died in battle and are brought to Valhalla by valkyries.
Another quality that was attributed to the berserkergang possessed was the ‘disable the arms of the adversary’, which probably implied that the berserkers were so fast, so invulnerable and inspired such terror in their enemies that they seemed to be paralysed with fear or that their blows were not effective.
Also, it is very likely that the aura of anger from a charging group of berserkers was ‘felt’ at a great distance by enemy soldiers as if it were an expansive wave, as the Roman historian Tacitus wrote while speaking of a Germanic männerbund whose members were called Harii, a word that, among Iranians and Indo-Iranians, meant ‘blondes’ and which is related to the einherjar of Valhala:
It will be enough to mention the most powerful, which are the Harii, the Helvecones, the Manimi, the Helisii and the Nahanarvali. Among these last is shown a grove of immemorial sanctity. A priest in female attire has the charge of it. But the deities are described in Roman language as Castor and Pollux. Such, indeed, are the attributes of the divinity, the name being Alcis. They have no images, or indeed, any vestige of foreign superstition, but it is as brothers and as youths that the deities are worshipped.
The Harii, besides being superior in strength to the tribes just enumerated, savage as they are, make the most of their natural ferocity by the help of art and opportunity. Their shields are black, their bodies dyed. They chose dark nights for battle, and, by the dread and gloomy aspect of their death-like host, strike terror into the foe, who can never confront their strange and almost infernal appearance. For in all battles it is the eye which is first vanquished [1].
We observe here the importance of the symbolism about the dark among these men. The night is essential in this symbolism because it symbolizes the dark age, this dark winter in which we were born for good or bad. The day, with the rays of the sun, the gold, is propitious for the will, for the courage, for the conscious struggle, to drive the spear into the enemy, to plunge the sword into the earth; in a word, to possess, to take over. The day represents the right hand; the order, the ritual and the ‘dry way’. The night, on the other hand, with its darkness, moon, stars, water and silver is more propitious to magic, to a certain chaos, to be allowed to be possessed, to raise arms to heaven instead of sinking them into the earth and therefore it is more related to the left hand and the ‘wet way’.
Since man is no longer a god, he must strive to become, at least, a blind instrument of the gods. For this, he must be emptied of all egocentric individuality in order to allow the divine outburst, that is, ‘to propitiate Odin to touch him with the tip of his spear’. And the first way to achieve this was through the establishment of severe discipline, asceticism and organisation.
Let us remember, with respect to the importance of the night, that Adolf Hitler himself spoke in Mein Kampf about the difference of the effect of his speeches among the crowds in the morning and at night. For him, the afternoons, and especially the evenings, were the ideal moment to give a speech and to assert his magnetism. Let us also note that, in the SS, the predominant colours in the uniforms and in their symbolism were black and silver. Symbolically, they were covered by night with darkness, with thunder and with lunar and star light.
Whoever had once been possessed by the berserkergang was already marked with a lifetime sign. From then on, the trance not only came to be invoked before the fight, but could also fall on him suddenly in moments of peace and tranquillity, transforming him in a matter of seconds into a ball of hate, adrenaline and subhuman cries striving for destruction.
Thus, Egil’s Saga describes how Egil’s father, a berserker, suddenly suffered possession of the berserkergang while peacefully playing a ball game with his son and another small one. The warrior, horribly agitated and roaring like an animal, grabbed his son’s friend, lifted him into the air and slammed him to the ground with such force that he died instantly with all the bones of his body broken. Then he went to his own son, but he was saved by a maid who, in turn, fell dead before the possessed.
In the sagas, the stories of berserkers are dotted with tragedies in which the uncontrolled berserkergang turns against those closest to the possessed. If we had to find a Greek equivalent, we would have it in the figure of Hercules, who during an attack of anger killed his own wife Megara and the two children he had with her, which motivated his twelve tasks as penance to expiate his sin.
In the field of mythology we have many examples of the fury of the berserkers. The Saga of King Hrólf Kraki speaks of the hero Berserker Bjarki, who fought for the king and who, in a battle, was transformed into a bear. This bear killed more enemies than the five select king champions. Arrows and weapons bounced off him, and he tore down men and horses from the forces of the enemy King Hjorvard, tore apart with his teeth and claws anything that stood in his way so that panic seized the enemy’s army, disintegrating their ranks chaotically.
This legend, which is still a legend, represents the fame that the berserkers in the North had acquired as small groups but, by their bravery, perfectly capable of deciding the outcome of a great battle.
Now, what is the explanation for these events, which far exceed the normal? How should we interpret the berserkergang? In our days, those who always look with resentful distrust at any manifestation of strength and health, have wanted to degrade it. For many of them, the berserkers were simply communities of epileptics, schizophrenics and other mentally ill people.
This ridiculous explanation is altogether unsatisfactory, as epilepsy and schizophrenia are pathologies whose effects cannot be ‘programmed’ for a battle like the berserkers did, and under epileptic or psychotic episodes it is impossible to perform valiant actions or show warlike heroism. An epileptic does more damage to himself by biting his tongue and falling to the ground than destroying the ranks of a large enemy army, and can also be reduced by a single person. Others have suggested that, as in the movies, the berserkers were alliances of individuals who had undergone genetic mutations, or the survivors of an old disappeared Germanic lineage, organised in the form of sectarian communities. Others even take into account the ‘shamanic’ explanation, according to which berserkers were possessed by the totem spirit of a bear or a wolf.
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[1] ‘Germania’ in Germania and Agricola by Tacitus, translated by Alfred J. Church, Ostara Publications (2016), page 17.
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WDH – pdf 60
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