web analytics

Category: Degenerate art

Categories
Degenerate art Music Richard Wagner

Wagner’s Lohengrin

The last three days I watched Lohengrin on YouTube, one act each night, corroborating what I think of opera.

If a good film loses ten or twenty per cent of its art when seen on the small screen, opera easily loses ninety-nine per cent. It is art made to be seen live, with the flesh and blood characters in front of our seats, and with all the ritual of spending our meagre savings, as the adolescent Hitler did when he discovered Wagner; dressing up in our best clothes, and going to a palace (like this one in Mexico City: the only one where I have enjoyed an opera, inviting a lady of course, to accompany me).

Opera really misses almost one hundred per cent of its magic. It seems an outrage that in the next few days I will continue to use this medium to see other Wagnerian operas. But in the palace of the town where I live, operas by the Führer’s favourite composer are very rarely performed. And even in the single opera I have seen there, the subtitles in my native language were essential to understanding the songs and the plot.

It is impossible to understand National Socialism without enjoying the art of its background. And it is impossible to grasp Wagner’s art in all its glory without having the funds to go to Vienna or Bayreuth in Germany, where some of his operas are performed every year. But even if you have the money, say, to go to the opera theatre in the Judaized US, in recent times modern choreography has bastardised the German composer’s original vision, courtesy of the Jews (see for example these quotations of an article that was later deleted in The Occidental Observer).

In the performance I saw yesterday, embedded below, Lohengrin is not the blond Aryan that Europeans used to see in more accurate performances. While the singer I heard yesterday has a magnificent voice, we will have to wait for the Fourth Reich before we can, once again, enjoy Wagner’s works as they were seen by those born in much less obscure times than ours…

Categories
Buddhism Degenerate art Richard Wagner Souvenirs et réflexions d'une aryenne (book)

Reflections of an Aryan woman, 69

It is known that at one point Beatrice steps aside before St. Bernard to guide Dante in the final stages of his ascent to the summit of the successive paradises.[1] One wonders who, after Stephanie, helped Adolf to climb the highest rungs of secret knowledge and when he climbed them. Was he still living in Vienna? Or in Munich? Or shortly after his decision, upon the announcement of Germany’s surrender in 1918, to ‘become a politician’?—as was the case with at least one other world-changing initiate, namely Christ himself, around the age of thirty? Or earlier? Or later? It is almost impossible to answer this question with any certainty.
 

______ 卐 ______

 
Editor’s Note: For a priestess of the sacred words (or priest) to use honorific titles like ‘Christ’ for a fictitious character from the pen of a resentful Semite just after the destruction of the Temple in Jerusalem, is a mistake. It is as if a follower of the 14 words were to call the Semite Muhammad ‘The Prophet’: a mistake that many esotericists often make. Note that although I consider myself a priest of the same religion as Savitri, I am not an esotericist but belong to another generation of the same priesthood.
 

______ 卐 ______

 
Two things, however, are beyond doubt. The first is that throughout his life the Führer continued to bathe in the spiritual atmosphere of Wagner—even more so than that of Nietzsche—and to draw inspiration from it. ‘I know all of Wagner’s thoughts inside out. At the various stages of my life I always return to him’[2] he once told Hermann Rauschning while he found that, in Nietzsche, although this thinker had ‘already glimpsed the overman as a new biological variety, everything is still floating’.[3] I repeat: Wagner, himself initiated to the highest degree—his work is proof of this—was, through this work, the true spiritual master of Adolf Hitler.
 

______ 卐 ______

 
Editor’s note: One of the things I have noticed about today’s neo-Nazis is that they are completely insensitive to Wagner’s greatness: it is an art they simply do not understand because many, including some European racialists, have degenerated musically.

To understand Hitler one has to (1) be repulsed by all degenerate music and (2) feel Wagner. That task is virtually impossible in the West today, as the degenerate milieu surrounds the white man like a fish in water. But it is possible if someone crosses the Wall and undergoes an initiation of years inside the cave of the three-eyed raven.
 

______ 卐 ______

 
The second certainty is that, either directly through the Thulegesellschaft or before his first contacts with it—in Vienna perhaps—with those having the same concerns, dreams and above all knowledge of the same order, Adolf Hitler knew the old hyperborean tradition: according to Guénon, the source of all others within which he received his supreme initiation. For the fact that he was one of the ‘descents’ on earth (in Sanskrit: avatara) of the One who returns, in every age of tragic decadence, to fight against the tide of Time and attempt ‘a recovery’, didn’t exempt him from the secret teaching of the masters of a particular form of the eternal tradition. Regarding these masters, from whose tutelage he could easily escape as André Brissaud suggests,[4] it wasn’t for granted that he would never enter into conflict; they had their part to play in his awakening. Other very great figures of the past, who have left their mark on history—among others, the Buddha himself, considered in Hinduism as an incarnation of Vishnu—have had masters even if they quickly surpassed them.

______ 卐 ______

 
Editor’s Note: Savitri is wrong again. We could say the same thing about ‘Buddha’ as we said about ‘Christ’ and ‘The Prophet’ because universalist Buddhism was ethnosuicide for the remaining Aryans in India, as Revilo Oliver knew.
 

______ 卐 ______

 
One would have to have been a member of the Thule Society to be able to say exactly what distinguished its teaching from that of other initiatory organisations or those claiming to be such. This is not so important if, as Brissaud seems to think, Hitler very quickly freed himself from the influence of any master or masters he might have had (apart, of course, from that of Wagner, whose music, both epic and initiatory, underpinned his entire life and even accompanied him beyond death).[5] What is important is to realise that he did indeed—it is not clear when, but certainly before the takeover—receive the supreme initiation that placed him above the contingencies of this world and above good and evil. In other words, he ‘awakened’ completely and definitively to what he was from all eternity and remains absolutely.
___________

[1] René Guénon: L’ésotérisme de Dante.
[2] Rauschnmg: Hitler m’a dit, page 257.
[3] Ibid., page 273.
[4] Brissaud: Hitler et l’Ordre Noir, page 109.
[5] After the announcement of the Führer’s tragic death in 1945, German radio played the last part of Richard Wagner’s Götterdämmerung.

Categories
Degenerate art Egalitarianism Kali Yuga Souvenirs et réflexions d'une aryenne (book)

Reflections of an Aryan woman, 49

As the present Cycle is much nearer its end than its bright beginning, it is probably not the first time that such an undertaking has taken place. I mentioned above the Revolution of 1789, which, in the name of the idea of equality ‘in law’ of all men of all races, led in France, de facto, to the usurpation of power by the bourgeoisie, and, in the geographically much more distant West, to the creation of the grotesque negro republic of Santo Domingo.

I could have mentioned Christianity itself, despite the undeniable, but visibly limited, part of true universal symbolism it may contain. Didn’t its dissemination—in the name of this same idea, as subversive as it is erroneous of equality—consummated the disintegration of the Greco-Roman world (already begun, it is true, in the Hellenistic period)? And its outrageous anthropocentrism makes it, in any case, an incomplete religion.

The European aristocracy, that is to say Germanic, and the Byzantine or Byzantinized Slavic aristocracy, came to terms with it out of policy, using it as a ready-made pretext for proselytising conquests and as a unifying force for the conquered peoples; while some of their members, and the most eminent ones at that, sometimes welcomed in it the opportunity for pure spiritual masochism, if not physical masochism as well.[1] All in all, and despite the inspiration that so many artists have drawn from it, this work has been, practically as well as in the absolute sense of the word, more subversive than constructive.
 

______ 卐 ______

 
Editor’s Note: This letter to me has been the most radical approach to this subject I have ever read.
 

______ 卐 ______

 
I could have mentioned any of these wisdoms, always more or less truncated, that Nietzsche calls ‘slave religions’. For all of these, even and perhaps especially those that most ostensibly place themselves ‘above Time’, by the mere fact that they deny hierarchy even if only in society and not in itself, and take no account of race on the pretext that the visible is of little importance, result in practice in the encouragement of a levelling down[2] and thus constitute (in practice, always) disintegrating factors acting in the direction of Time. They all contribute to the vast work of subversion, in the true sense of the word: of turning the ideal order upside down which continues, and intensifies, throughout the cycle.

I will say more. Undoubtedly there is a ‘subversion’ of this principial order whenever a man, or a natural group of men—a caste, a race—moved by a false estimate of his ‘rights’ or even of his ‘duties’, usurps or tries to usurp the normal place of another; whenever, for example, a prince rejects the spiritual authority to which his kingdom, and perhaps his civilisation, owes its link—however remote and tenuous—with the highest and most hidden sources of Tradition. It is a crime of this nature of which Philip the Fair, otherwise a great king, seems to have been guilty in destroying, with the connivance of a pope who was more of a politician than a priest, the Order of the Knights Templar. But all this only prepares and prefigures, by far or by near, the ultimate subversion: that which consists in calling the mass—and the mass of all races: the ‘world proletariat’—to power and what is worse is the claims to derive from it, and from it alone, the principle and justification of power.

This subversion, which Guénon calls ‘the reign of Soudra’, is the worst of all those who have succeeded one another in the course of the ages. It is the worst not because a non-Marxist would find himself subjected to more inconveniences under a communist regime than under another, but because it is no longer a question of arbitrary changes, contrary to the spirit of the true hierarchy within visible society, but of a complete reversal of ideal situations and essential values.

The result is that this society, instead of tending, as it should, to reflect what it can of the eternal order, reflects, symbolises, concretises in the world of manifestation exactly the opposite. The pyramid which, in the supra-rational vision of the wise man, represents the organic arrangement of the ideal society, the image of the hierarchical states of cosmic existence, visible and invisible, is, in the sacrilegious dream of the Marxist, completely turned upside down. It is planted in balance—oh, how unstable!—on what should be, on what, from the viewpoint of formal correspondences, is its summit. And it is its natural base that serves as its artificial summit: a ‘summit’ that is not a summit because it is, precisely, mass, a formless and heavy mass: a crushing mass overflowing everything and not a point.

It is from the metaphysical point of view that Marxism is nonsense, no matter how deceptively subtle the arguments on which its founder, Mardoccai, a.k.a. Marx, tried to support from economic and political considerations concerning production, the employer’s profit, the worker’s wage, ‘surplus value’, etc.

No dialectic can bring a doctrine into line with cosmic truth, if it is not already so. And, in the practical domain this time, no force of coercion or persuasion or conditioning can in the long run stabilise a particular state of deterioration in a cycle. The social pyramid cannot remain precariously balanced on its top with its base in the air indefinitely. Either a ‘partial recovery’ will tend to put it back on its feet—with an increasingly illusory success, and less and less durable as the cycle approaches its end—or the pyramid, dragged down by the very inertia of the mass which it was intended to be the ‘summit’, will collapse, disintegrate, fall apart. And it will be chaos, complete anarchy succeeding the reverse order. It will be—to imitate the colourful, Hindu-tinged language of the author of The Crisis of the Modern World—the reign of the Chandala succeeding the reign of the Soudra: the end of the cycle.

Perhaps we still have sporadic glimpses of this in some manifestations of gregarious eccentricity and boisterous nihilism, such as those of the ‘Existentialists of Saint-Germain-des-Prés’, the young people of the ‘New Left’, or ‘hippies’ of all stripes: anarchists out of laziness, pacifists out of laziness, drug addicts, unwashed, uncombed, noisy, ragged individualists and tolerant as long as the individuality of their neighbours doesn’t bother them, preaching: ‘Make love; don’t go to war!’ and ready to jump on the first one who prefers to make war, or both.

________

[1] As could well be the case of Elisabeth of Thuringia, princess of Hungary, who was flogged by Conrad of Marburg, her director of conscience.

[2] I have tried to show this in a long passage in my book Gold in the Furnace, 1951 edition, Calcutta, pages 212ff.

Categories
Degenerate art Souvenirs et réflexions d'une aryenne (book) Technology Third Reich

Reflections of an Aryan woman, 31

 

Chapter VI

Technical Development and Tradition

No more clattering sounds on the walls of the abyss;
Laughter, vile noises, cries of despair.
Between hideous walls, a black swarming,
No more arches of foliage at sublime depths.

Leconte de Lisle (‘La Forêt vierge’, Poèmes Barbares)

Since the disaster of 1945 we have been talking about the ‘free world’ and the ‘other world’, that is to say the world where Democracy reigns and the one dominated by Communism: the only totalitarian ideology whose adherents are in power anywhere, after the destruction of the Third German Reich.

I’ll tell you what I think of each of these enemy worlds. Their superficial differences strike you to the point of diverting your attention from their similarities, or rather their profound affinities. And you have been told and continue to be told about these differences and to insist on them, so that you don’t get where you are being led. And you are told again and again that you wouldn’t have been ‘any freer’ under the Hitler regime, as Germany knew it for twelve years, than you would be today under any kind of Marxist totalitarianism. We repeat this to you to remove in advance any possible nostalgia for this regime which we, who admired and supported it, present as based on ‘joyful work’.

If there is anything certain, it is that in the so-called ‘free’ world at least—I haven’t lived in the other, and know it only from the criticism of hostile propaganda and the praise of its propaganda—not one person in ten thousand ‘works with joy’, and this is because not one person in ten thousand really likes his livelihood or his ‘state’, to speak as in the old days. They don’t like it, and rightly so. For the activity that they’re obliged to do, during all the time of sells, to be able to live, to an individual employer, a collective employer (a public company for example) or to the State, is more often than not so boring that it’s impossible to like it.

And this is all the more general the more technically advanced a society is, that is, the more mechanised. Just think of the thousands of workers who have been condemned to ‘assembly-line’ work by a sinister fate: to the indefinite repetition, eight hours a day, of the same easy gesture devoid of any perceived usefulness (since the worker never sees the finished product, car, plane or improved machine, or the manufacture of which each of his monotonous gestures has contributed), of a gesture without any real meaning for the one who performs it. Just think of the woman sitting in some ‘box’ at the foot of a metro staircase, who punches tickets every day, eight hours a day, sowing around her as much beige confetti as people coming out of the staircase to get into the cars with automatic doors that will wait for them for a few seconds, every two or three minutes. Just think of the ‘typist’ who ‘types’ all day long letters whose content doesn’t and cannot interest her.

The list of work which, by its very nature, can be of no interest to anyone could be extended indefinitely. The number of such chores that are ‘indispensable’ to the economy of modern society doesn’t depend on the political regime under which people live, but only on the degree of mechanisation of the cogs of production and exchange. And if it is sometimes possible to remove one or two of them, by replacing a person with a machine—for example, by an automatic banknote punching machine, such as is now used in the buses of Germany and Switzerland—it will never be possible to eliminate them all. The development of technology will create new ones: workers will be needed to manufacture the parts of the ‘latest’ machines.

And these new machines will have to work under someone’s supervision. But it is impossible to make interesting the task of producing identical parts ad infinitum, or of supervising the same machine, let alone pleasant. And if one imagines this task performed under the blinding light of neon tubes, and in continuous noise (or with a background of light music and ditties, even more irritating, for some ears, than any roar of machines), one will agree that for a growing number of men and women earning a living is a chore, if not, a torment.

But it is not only the work that is boring in itself, and therefore exhausting despite the ease with which it can be done by anyone. There are jobs which would undoubtedly interest some people, but which don’t interest a considerable proportion of the employees who perform them, either because these employees haven’t chosen their professional activity, or because they’ve chosen it for the wrong reasons. And the question arises: How is it that at a time when (in the ‘free world’ at least) so much emphasis is placed on the ‘rights of the individual’ and when, in the technically advanced countries, there are so many institutions whose purpose is precisely to help parents guide their children in the direction in which they should be both happiest and most useful. How is it, I ask, that there are so many malcontents, failures, bitter people, uprooted people and downgraded people; in a word, people who are not where they should be and not doing what they should be doing?

The answer presupposes some observations, the first of which is that it is impossible to ask a mass of people, even of a superior race, to resist the pressure of their environment for a long time, or even only for a few decades. It is certainly wrong to assert with Karl Marx that man is no more than what his economic environment makes of him. Racial heredity and history play a part in shaping the personality of individuals and peoples.

This is undeniable. But it must be admitted that the more one deals with a mass, the more important is the influence of the environment, and in particular that of the technical environment, in the formation of the collective personality, or rather in the evolution which results, in people taken as a whole, in an increasingly striking lack of personality.

In other words, the more one deals with a mass, the more the basic proposition of Marxism—‘man is what his environment makes him’—tends to be verified in practice. One could almost say that Marx would be right, if humanity consisted only of the masses. And it is understandable that people who love man above all else, and who are not put off by mass life, should be Marxists. (In order not to be, and to be sure never to be tempted to become, one must love not ‘man’, whoever he may be, but the human elites: the aristocracies of race and character.)

The technical milieu acts on the masses: it dictates to them by advertising the ‘needs’ they must have, or hasten to acquire to encourage ever more advanced research leading to ever more varied and perfected applications of the laws of nature to man’s ‘happiness’.

It offers her real electrification of housework and leisure activities: the ideal modern house, where you only have to turn a knob to heat the soup, bought ready-made, to clean the floor, to wash the clothes, or to watch the day’s film on the small screen (the same one for fifty million viewers), and to listen to the dialogues that are an integral part of it. Only a man who knows in advance what he wants has no use for the technical environment all his life, or even be unaware of it because they are so irrelevant to him; a man who is much more aware of his own psychology (and in particular of his scale of values) than ninety-five per cent of our contemporaries; in a word: a man who, by the grace of the Gods, doesn’t belong to the masses.

______ 卐 ______

 
Editor’s Note. I would recommend the book Lord of the Rings to those who want to get out of the monstrosity that Saruman did with his arboreal destruction, iron industry, multiplication of Orcs, and technology like the ubiquitous cell-phones (which I don’t use since I have zero male friends in my native town).

If I were a film director and wanted to make a childrens’ TV series, I would bring LOTR to the screen by retrieving all those detailed descriptions of the bucolic fields in Tolkien’s prose, lacking in Peter Jackson’s strident trilogy after his first film.
 

______ 卐 ______

 
He will not ‘fit in’ in the modern world, and probably, whatever his profession may be. The mere fact of being happy where three-quarters of the people would be bored, and of being bored on the contrary, of having the most irritating impression of ‘wasting one’s time’ amid the distractions that the majority seeks, sets him apart.

He is really only at home among his few fellows, he who has no transistor, no radio, no television set, no washing machine, and that neon light hurts his eyesight and so-called ‘modern’ music ‘grazes his ears: he who persists in remaining true to himself and who refuses to love ‘on command’ what the advertisements and propaganda present to him as ‘progress’.
 

______ 卐 ______

 
Editor’s Note:

If there is one thing almost all white nationalists fail at, it is this. The pop music most of them listen to only degrades the Aryan spirit. The transvaluation of all values begins with the music we listen to: food or poison for the soul.

It is impossible to save the race if the white man enjoys the inane and grotesque melodies of the fallen West—often not even melodies, but the grossest and cacophonous ape rhythms we can imagine (just compare it with the film’s Evenstar).

Categories
Degenerate art Feminism Tree

The spoils of war

‘The Spoils of War’ is the fourth episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 64th overall. The stills show the Stark siblings reunited in this episode, for the first time after they tragically parted ways in the first season. All the scenes in the series and the novels where a heart tree appears have a special charm (below, Sansa under Winterfell’s heart tree).

The first feminist scene takes place in Dragonstone Cave, where Jon shows Dany some ancient cave paintings. Given that Dany and Cersei are the queens who are fighting to see who will sit on the Iron Throne, one might think that Dany could at least tolerate a single king (Jon) in the far north. But no: she tells Jon that she will only help him defeat the Night King if he bends the knee and accepts Dany as the queen of the Seven Kingdoms. If Jon accepts Dany’s proposal, all of Westeros will be ruled by one woman when the powerful Dany defeats Cersei.

Another ultra-feminist message occurs when Brienne tells her male squire, ‘Move aside, Podrick!’, who had fallen to the ground several times training with Brienne. She says those words to him because Arya requests a training exercise from her. Now these two women are the best swordsmen in Winterfell! (It is useless to reiterate that this is an absolute reversal of sexual roles and historical reality in a medieval castle.)

In the previous post we saw that Dany’s mulatto army defeats the Aryan Lannisters in another castle, Casterly Rock. At the end of this episode Dany’s other coloured army, which as I have said Martin seems to have been inspired by the Mongols, defeated the Lannister on the Roseroad (although this time aided by Dany’s dragons).

Categories
Degenerate art Feminism

The queen’s justice

‘The Queen’s Justice’ is the third episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 63rd overall.

The first feminist message of the episode is the meeting between Dany and Jon at Dragonstone. I’ve been mentioning the nickname ‘Dany’ that Jon would give the queen when, in later episodes, they became lovers. But the official title of this feminist icon is just the way Missandei introduced her queen to Jon: ‘You stand in the presence of Daenerys Stormborn, of the House Targaryen: Rightful Queen of the Andals and the First Men, protector of the Seven Kingdoms, the Mother of Dragons, the Khalessi of the Great Grass Sea, the Unburnt [fire doesn’t burn her] and the Breaker of Chains [i.e., a SJW queen]’.

Regarding the other queen who also claims to be the protector of the Seven Kingdoms, Tycho Nestoris of the Iron Bank tells Cersei that she is the first queen in the history of Westeros. In other words, there had been no women in power prior to the show’s internal timeline.

It’s becoming increasingly clear that the show is, as we have been saying, a projection of the current lifestyles of a dying race to a medieval world that never existed. Later the episode shows us another kind of bad message: Grey Worm’s mulatto army infiltrates Casterly Rock and captures the castle of the Aryan Lannisters.

Then we see how, after Jaime, Randyll and their armies take Highgarden, Jaime Lannister (pic above) speaks one last time with Olenna before she drinks a poisoned cup.

YouTube fans are already starting to talk about the new series that HBO wants to premiere next year: a prequel to Game of Thrones based on Martin’s fiction (something akin to what Peter Jackson did after his LOTR trilogy). From the casting we can guess that feminism will apparently continue, and perhaps this time one of the main characters is a black man. Hopefully the US dollar will collapse before its release so that the circus will stop looking funny to these degenerate whites…

Categories
Degenerate art Feminism

Dragonstone

‘Dragonstone’ is the seventh season premiere episode of HBO’s fantasy television series Game of Thrones, and the 61st overall. Almost all episodes begin with a minute and a half opening credits in which we listen to the musical theme of the series that became so popular. Here, instead, David Benioff and D. B. Weiss kicked off the season with an ultra-feminist scene. In my previous post I said that the girl Arya had killed the principals of House Frey. But this girl is so powerful, and let’s remember that we are in the scene before the opening credits, that she manages to kill the rest of House Frey—dozens of them, all males, and in the end she walks over the corpses.

The imbecile fans loved the scene. For me, the fact that millions of fans didn’t mind that a single girl was capable of killing all the males in their own feudal castle, shows that the Aryan problem encompasses the Jewish problem. Not wanting to see that the masses are surreally brutalised is part of the blindness of white nationalists, who don’t quite understand what’s happening.

But the opening scene is only the overture of what comes next. In Winterfell, the Mormont girl returns with her practice of lecturing a feudal lord and Jon Snow allows Sansa to confront him before the lords and ladies of the north. Sansa is not the wife of Jon, the king of the north. In the real feudal world she had to be completely subordinate to the will of her stepbrother. She shouldn’t even have a voice on the war council. But we are in a series in which the same actor who played Jon said in an interview that Game of Thrones was a feminist show.

It is true what I said in my previous post: the great hits of white culture should be studied more than the subversion of the Frankfurt School. But reviewing these episodes represents a great test of patience for me. However, since there is no blogger among racialists who dedicates himself to exposing every bad message on television series, I feel compelled to do so at least with the most popular series of all, no matter what bile my body secretes by imposing this homework on me.

Returning to the initial episode of the season, it ends when Dany arrives with her armada at Dragonstone, from where she plans how to defeat the other queen, Cersei.

Categories
Architecture Degenerate art Feminism Stanley Kubrick

The broken man

‘The Broken Man’ is the seventh episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 57th overall. Here the series exacerbates its previous feminism to surreal levels. It is not enough that the show introduces a woman as the feudal lady of the beautiful medieval castle that we see above. She is a ten-year-old girl. And worst of all, the fans loved this new character!

Some Americans wondered yesterday how the judicial system gave in to the BLM threat by condemning a white cop in the case of the black man who died on the asphalt. One clue to how the West got to this point is simply to notice what TV fans like: a world upside down. In the episode this brat, Lady Mormont, speaks authoritatively as a feudal lord, and initially disparages Jon Snow and Sansa Stark who ask for help in their campaign against the Boltons.

In Volantis we see Yara and another woman making out publicly. But Yara is not a lesbian in Martin’s novel. This is another excess of the scriptwriters to demoralise the white viewer. (Yara also harangs her ‘little brother’, the phrase she uses, so that he stops being a broken man.)

The penultimate scene is even more surreal than that of the ten-year-old feudal lady. Arya, seen here in Braavos with the background of a kind of Colossus of Rhodes, is stabbed several times in the stomach by the Waif and she survives the attack! All of these images come from this episode, including Blackfish’s Castle below, and above with Jaime Lannister on the bridge.

The trick used by the creators of Game of Thrones is to mix the beauty of Aryan architecture with poisonous messages for the white soul. It reminds me of Kubrick’s virtuosity in filming 2001: A Space Odyssey so that his next movie, A Clockwork Orange, was so poisonous that it was banned in England for several decades.

Categories
Degenerate art

Mother’s mercy

‘Mother’s Mercy’ is the fifth season finale episode of HBO’s fantasy television series Game of Thrones, and the 50th overall. It was written by the series creators David Benioff and D. B. Weiss. In the episode we see how Tryion stays to rule Meereen with the mulatto couple that we see in this image, after their queen Dany fled the city on her dragon.

I have said that I don’t want to go into detail about Ramsay’s sadism. But at least the directors had the decorum not to put the camera in when he skinned his victims alive. In this episode, however, they did put the camera in a room where Arya empties Trant’s eyes in a brothel, before killing him. Of course, the Jewish directors frame the scene as legitimate revenge for Arya’s teacher being killed by Trent, that swordsman we saw in the first season (plus Trent was beating up some young prostitutes). But it is a scene that offends the viewer whose soul hasn’t been irreparably damaged by Hollywood.

What is most outrageous is that a lot of gentile fans loved the scene. This is verified simply by watching their reactions on YouTube when the episode premiered. And this scene appears in the season’s finale! Remember that the finales of each season were always the most anticipated since the producers would take a year to launch the next season.

It’s so disturbing that the perverted fandom of this series hadn’t repudiated it at this stage, that it’s not worth commenting further on the episode.

Categories
Degenerate art

Unbowed, unbent, unbroken

‘Unbowed, Unbent, Unbroken’ is the sixth episode of the fifth season of HBO’s fantasy television series Game of Thrones, and the 46th overall. In the pic we see a shot of King’s Landing in this episode, where we can see the Castle and also the Great Sept of Baelor: a kind of Vatican within Rome.

As you may have observed, it isn’t my intention to summarise the plots of each adventure thread in various parts of Westeros, but to record the bad messages of the series. The plots are mostly empty and fantastic, although I admit that Martin has a great command of the language.

For example, when in Braavos Arya enters the sanctum sanctorum of the House of Black and White after some time working as a servant and sees the columns with thousands of inlaid faces, there is nothing profound in that idea. It is pure imagery of a writer who, in interviews, has shown himself to be a traitor to his race and who writes for an audience that all it wants is cheap bread and circuses. The only mystery in those scenes that initiate Arya into the mystery cult is a psychological trick: the viewer is eager to find out what exactly the Faceless Men’s religion is. Believing that he is going to find out just by watching all the seasons, he forgets that it’s all cheap fantasy.

Cheap I say, because it’s far more difficult to try to decipher the religions of the real world. (See for example the efforts I made in Day of Wrath in trying to figure out why, in the past, parents led their children to the sacrificial stone.) And precisely because it is infinitely more difficult to understand the religions of the real world, the typical westerner takes a shortcut: attend television circuses even if they lack the least depth. In the episode then we see the first bad message on the Valyrian peninsula: a black slave trader hits the Aryan Jorah twice in the face.

In the warm King’s Landing there is a phrase by Lancel Lannister, now called simply Brother Lancel—a kind of monk of those who destroyed the Greco-Roman world in the 4th century—that deserves to be quoted: ‘The city has changed since you were here last. We flooded the gutters with wine, smashed the false idols, and set the godless on the run’. Far from there, in the cold Winterfell, in the novels Ramsay doesn’t rape Sansa in front of Theon after their wedding, as we see at the end of the episode. But as we know, those who produced the series are worse than Martin.