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Christian art Psychoanalysis Richard Wagner

Wagner vs. Bach, 4

Bach did not compose any opera at a time when the genre was very much in vogue. In this, he cannot contrast more with Wagner, mainly known for his operas (or, as some of his mature works later became known, ‘musical dramas’). Unlike Bach who used the Gospel text in his most ambitious works, Wagner wrote both the libretto and the music for each of his works. My father, a composer of classical music, used to say that Wagner’s art predicted cinema.

However, the narrator tells us in the aforementioned documentary that St Matthew Passion has operatic elements. It was music that inspired ‘contrition and remorse’, and it is striking how the pundits of white nationalism don’t want to see the elephant in the room when they agonize to explain how the guilt that currently kills the white man originated. St Matthew Passion lasts an hour and a half, and has twice the choir and orchestra than St John Passion.

Who has hit you
my Savior, and with torments
so harshly abused you?

The narrator tells us: ‘And it’s in that moment that I feel Bach is saying, This suffering is unbearable. We have to stop it. We have to show our sense of moral outrage’.

You know nothing of our sins…
Have mercy my God
for the sake of my tears.

After explaining St Matthew Passion the narrator made the mistake of passing the microphone to a psychologist to ‘psychoanalyse’ Bach. Readers of this site know that I think clinical psychology is pseudoscientific, and it’s not worth adding much here except to say that Freud and his disciples loved to ‘psychoanalyse’ geniuses to feel superior to them (see what I say about the Vienna quack: here).

After the shrink mistake, the narrator tells us that Bach’s obsession with composing religious music was such that, despite his Lutheran background, he composed a large-scale Latin mass for a Catholic court. As the lyrics of one of his last compositions say shortly before Bach died:

Before (((your))) throne now I appear…

Categories
Autobiography Beethoven Christian art Destruction of Greco-Roman world Martin Luther Music

Wagner vs. Bach, 2

I invite visitors who like classical music to watch an hour-and-a-half documentary: ‘Bach: A Passionate Life’. The host of the documentary informs us that, when Luther took refuge in a castle, he believed that the devil was stalking him from the ceiling. Compare such dark paranoia with the return to the artistic spirit that then reigned in Renaissance Rome!

In that room the dark monk, Luther, translated the New Testament using many German dialects, thus creating a unified language for that nation. In one of my previous posts I said that all western nations since Constantine, except for the brief reigns of Julian the Apostate and Hitler, should be considered quackery from the new point of view. The reason why the Germans allowed themselves to be brainwashed so easily since the US-imposed Diktat is explained if we see that the inertia of their culture was infinitely more Christian than the occult paganism of the Third Reich. In other words, what succeeded again in WW2 was, as happened after the assassination of Julian, the grip that the Christian archetype holds over the white man’s psyche.

Compare my point of view with what even a racist revolutionary, a non-Christian, wrote in one of his novels. Harold Covington envisioned a dispute between Christians and pagans, both freedom fighters for the 14 words, during the racial revolution: a dispute that was only resolved when the pagans allowed that the hymn of the new Aryan republic was… a hymn that Luther had composed! Naturally, neither the late Covington nor his secular followers that can still be heard once a month on Radio Free Northwest knew that Christianity and the JQ are one and the same.

These Luther hymns went perfectly in line with the central goal of Bach’s life, as we are informed after minute 29 of the documentary linked above: ‘A well-regulated church music to the glory of (((God)))’. Those were Johann Sebastian Bach’s words: the words of the grandfather of all the composers! But without putting triple parentheses now, after the 45th minute of the documentary a writer confesses to us, when we hear Partita for Violin No. 2 in the background, that this sort of musical soliloquy ‘would convince me that there is a God’.

This is most interesting because that Partita is the music solo I have heard the most from Bach, and although it is secular (i.e., non-sacred music) it perfectly portrays the feeling of the child of my dream in my previous post: that what for my father (or Christians) seemed sublime to me it seems hellish. Infernal not in the sense of today’s degenerate music, but in another sense. Just as Gothic cathedrals represent magnificent art, much of Bach’s music (and even Beethoven’s quartets) transports me to that gargoyle-filled nightmare world of which I want nothing more than a return to a musically enlightened world.

Please understand me well. Unlike those Neanderthals who don’t understand the music of Bach, Beethoven or Wagner, since my parents were musicians by profession I did understand them. But it is the dark Zeitgeist that, as in my dark cathedrals series of dreams, bothers me even though I recognise that the Partita is a masterpiece. Curiously, when after getting used to listening to it on violin I once heard the same Partita by Bach, but this time versioned for classical guitar, the gargoyles disappeared and I was finally able to enjoy it. Something similar happens to me with the church organ and the harpsichord: I cannot hear them except when the pieces are versioned for other classical instruments, although more modern. It is the Christian Era Zeitgeist that irritates me, and to understand my subjectivity I must translate another page of El Grial:
 

______ 卐 ______

 

What impresses me about this historical revisionism is the clairvoyance of the teenager I was, whom my parents and a psychoanalyst destroyed at the time. He saw things as they were, and compared the loss of his beautiful life with the loss of the ancient Hellas. For the adolescent Caesar, the best of his Palenque had been his ‘Greek’ stage, and the stage after November 1974 was like the fourth century and subsequent European centuries. How I remember the way in which I then projected that drama on the image of an LP that my father liked, that we called the Hercules Mass.

I was deeply hurt by the transition from the world of the Greeks and the Romans to Christendom; and the face of the lad on the cover of the album, together with the Kyrie of Josquin des Prés, represented the fateful transit: sculpture and music that, in my adolescent mentality, I thought dated from the times after Constantine. Still something of the Hellenic beauty was seen in the profile of the young man—I felt inside—and it hurt me that, unlike the jovial times of the ancient world, he was now praying with his face up (note that the female above the lad is no longer Aryan). Later I remember very vividly that, already living with my grandmother in the darkest stage of my life, I blamed my father’s Christianity for the annihilation of the beautiful youth of Athens. What I was unaware of at my seventeen is that the grandiose temples, statues, and libraries of Greco-Roman culture had been ripped apart, and adepts of the old culture marginalised and even genocided by Christians…

Now I know that the tragedy of the West in general, and the tragedy of my life in particular, are two sides of the same coin. The soul that the adolescent Caesar so projected on the downgraded ‘Greek’ of the album was killed by the same regressive forces by which the Greco-Roman world was killed: the incredible evil, stupidity, massive psychosis and envy of humans. From this angle, writing about my life has also been, in some way, writing about the western tragedy.

Categories
Christian art Deranged altruism Richard Wagner St Francis

Jesus’ message reaches its climax

St. Francis kissing the feet of Christ,
from a painting of a crucifix in Arezzo, Italy
.

In Negrolatry the Negro is now the new Jesus, and the zeitgeist is trying to immanentize the eschaton in 2020. The last will be the first, and the first the last because the kingdom of heaven is like a landowner who went out early in the morning to hire men to work in his vineyard, Jesus said. Who would say that only in a secular age, which we have called here neochristian, were these words going to reach a massive psychosis that is affecting large numbers of whites.

The first minutes of the latest AmRen video, which shows recent images of whites kissing the boots of Negroes on the street when they demand it, are very disturbing.

The downward spiral of self-destructive insanity into which the white man has fallen has older roots than the American antecedents that Jared Taylor mentions. Since I was educated as a Catholic, I have an advantage over those who were educated in Protestantism: I know better the history of the church before the Reformation. And since my father talked so much about St. Francis when I was a teenager, I realise that what is happening today has its roots as early as the 13th century if not before when, from Constantine, the Christians—mostly non-Aryans—began to destroy the beautiful Aryan statues throughout the Roman Empire.

It is a real disgrace that the common American, and even the educated American like Taylor, is unaware of the stellar moments in the history of their parents’ religion, as the gospel was and has been, up to its secular incarnation, an attempt to invert Aryan values into Semitic values (‘ethnocentrism for me, universalism for thee’). Today’s events, in which a black man on the street can ask a white woman to kneel and the white woman obeys, are the result of a crescendo program that began 1,700 years ago, when a Roman emperor surrendered the empire to his bishops, many of whom had Semitic background.

The good thing about this accelerationism is that the frog is no longer going to be burned little by little without realising that they want to burn it. From now on, the extermination war against whites will be more and more direct and, therefore, they will have more chances to wake up.

As I see things, we are in the anteroom of a theatre where a great opera is going to be performed. The first calls have already been heard for people to start going to their seats, but we haven’t heard the third call yet. When it arrives and we are sitting in our seats we will hear the overture (the collapse of the US dollar). But that will only be overture. Then comes the development of a Wagnerian Tetralogy, the arc of which can last for decades if not a century (remember that Richard Wagner took more than thirty years to complete his Tetralogy).

Certainly the next decades, from the overture, will be crucial to know if whites regain their appetite to exist, or if the evangelical message that they have engraved in their collective unconscious will prevail.

Transvaluation of all values.

Reject Jesus; put Uncle Adolf in his place.

Categories
Christian art Civil war Evil Kali Yuga

Festival of neochristian guilt

These are just a few of the thousands of comments about the embedded video below on the new religion of Negrolatry (Black is the substitute for Jesus in this secular age):

• This is a new religion.

• The most disgusting display in American history.

• That worshipping scene in the street is scary as hell.

• No amount of self -abasement will ever be enough. This is a cult with no possibility of redemption for Whites.

• The worst kind of racist is the one who hates his own race.

• Remember kids, no one is coming to save us—we have to save ourselves.

• In a few years, the genocide of white farmers in South Africa will be common place in most western countries…

• I agree that voting won’t change anything, only revolution will.

• A full-blown race war is now inevitable, logical and preferable.

• This time is the turning point in history where whites need to come together, and rise up against this unequivocal assault on our race.

See Jared Taylor’s latest video about the Guilt Festival: here.

Categories
Carl Gustav Jung Christian art Racial right

Possessed whites

Jordan Peterson may be a sophist but he does well to remind us, quoting Jung, that the human being in general has no ideas: he is possessed by ideas.

Since the Imperial Church destroyed the Greco-Roman world, whites literally became possessed by Jewish ideas. Think about how many centuries the possessed ones bent their knees to deities like Yahweh and his son Yeshu.

Whites are so possessed that even the souls of the supposed rebels of the anti-white zeitgeist continue to be possessed by this idea. And I mean not only white nationalists who remain Christians. Every time I see more clearly that the fact that books like Who We Are remain unpublished, even by secular racialists, is because Pierce breaks away from Christian ethics by advising ‘extermination or expulsion’ of non-whites throughout his book.

Understand me well: like the normies, all racialists in today’s world are possessed by an unhealthy idea. And like the normies they will remain possessed until the day of their deaths, as Thomas Kuhn saw. There are exceptions of course, including some commenters who have visited this site. But in general what Jung said remains: human beings have no ideas; they are possessed by ideas. And the idea that in this age governs westerners, including secular white nationalists, remains Christian ethics.

It is true that white nationalists are not normies. But since they are unable to break openly with Christian ethics they are in no man’s land. The metaphor I have been using is that, although they left Normieland, while crossing the psychological Rubicon they stayed in the middle of the river. They are unable to continue crossing into the lands of National Socialism, and will remain unable to cross it until the day of their deaths. The magnet exercised by the precepts of Yahweh and his son Yeshu from the side of the river they left behind is irresistible.

Our only hope is to appeal to the very young generations, perhaps teenagers or children, who in the future will read The Fair Race: a compilation that, as I promised yesterday, in the 2020 edition I added a paragraph in the introduction (and deleted the PDF of 2019).

Above, Catherine gets a woman released from her pact with the devil before dying, a painting by Girolamo di Benvenutto (1470-1524). What Girolamo ignored is that Christianity itself is the devil, and that we must get whites released from their devilish pact before their race goes extinct.

Categories
Christian art

Peter & Andrew

For Catholics like my (late) father, the New Testament tales about St. Peter occupy a place of pre-eminence. They ignore that those are only tales, literary fiction from the pen of some Hellenized Semites of the 1st century.

In this fresco of 1436 we see Peter next to Andrew, his brother, at the time of being both called by the ‘Master’. The scene is due to the hand of Andrea di Giusto, and is located in the church of St. Andrew, in Ripalta.

Categories
Christian art

The Incredulity of St. Thomas

St. Thomas making sure of the sores of the ‘Master’ is one of the most classic figures in the iconography of the apparitions of Jesus after his resurrection, as in this oil on canvas that we can contemplate in Rome, Pinacoteca Vaticana, ascribed to Guercino (c. 1620).

Currently, only fundamentalists believe in the historicity of the resurrection. Liberal New Testament exegetes, who somehow remain Christians, resemble the sceptic St. Thomas more than what white nationalist Christians believe.

Categories
Christian art Richard Carrier

Our patron saint

The Incredulity of Saint Thomas is titled this painting by Vasari, in the Florentine church of Santa Croce. The composition and treatment of the figures reveal the spirit of the late Renaissance.

With the tools of exegesis of our century it is not only possible to doubt, like Thomas, that Jesus rose from the dead. It is even possible to doubt that the guy existed, as readers of Richard Carrier know. Even so, sceptics of the New Testament narrative sarcastically consider Thomas as their ‘patron saint’.

Categories
Christian art Der Antichrist (book)

Suppers at Emmaus

In the previous thread on Christian art Berk said: ‘How and why the Italian Renaissance began to use Nordic faces in their paintings is not something I know, but it is a revolutionary act perhaps in resistance to the Christianity they faced’. I answered that maybe Nietzsche can help:

Is it understood at last, will it ever be understood, what the Renaissance was? The transvaluation of Christian values: an attempt with all available means, all instincts and all the resources of genius to bring about a triumph of the opposite values, the more noble values…

Supper at Emmaus (1606, above) is a painting by the Italian master Caravaggio, housed in the Pinacoteca di Brera in Milan, Italy. Caravaggio’s work had a formative influence on Baroque painting. I told my father a long time ago that the Baroque ‘was a betrayal of the Renaissance’. He got angry and didn’t seem to understand what I was saying.

Fra Angelico began painting 200 years before the above Supper in Emmaus was completed. If we compare the blond angels and even the blond Jesus and redhead Magdalene of Fra Angelico in my previous posts with the painting by Caravaggio, we clearly see the regression towards non-Aryan characters.

Non-Aryan characters are even more obvious in this other Supper in Emmaus of 1601, also of Caravaggio, which is not located in Italy but in the National Gallery of London. Notice how the face of Jesus in this picture is wider (that is, less Nordid) than the face of Jesus in the picture above.

Categories
Christian art

Nordid Jesus


Christianity has been a kind of straitjacket that has taken as a prisoner the mind of the white man, especially in the Middle Ages, from where he could not get loose. It was a time when the European tried, by subtle means, to free himself from the prison of the mind to which they had put him. A subtle way that the Aryan spirit sought to escape was, as Fra Angelico did, to Nordicize the (originally Semitic) characters of the New Testament.

The Italian painter’s imagination didn’t have to work hard to compose this endearing appearance of Jesus to Magdalene, where the event occurs with extreme naturalness. The painting is in the convent of San Mark in Florence, where the original of this hyper-Nordic Jesus can be contemplated.