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Category: Richard Wagner

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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
Currency crash Lord of the Rings Racial right Richard Wagner Rudolf Hess Savitri Devi Souvenirs et réflexions d'une aryenne (book)

Reflections of an Aryan woman, 80

It is impossible to say to what extent the Thüle Gesellschaft [a German occultist and Völkisch group] was in possession of this priceless heritage, coming from the depths of the ages. Certainly some of its members were—Dietrich Eckart, Rudolf Hess, and the Führer himself had it. One of the traits of the initiate would be the ability to feign anger, madness, imbecility, or any other human state whenever he deemed it appropriate for his purposes. The Führer forced himself, as he said,[1] to ‘appear tough’.

And his all-too-famous fits of rage—the existence of which the enemy pounced on with delight, as if they were a source of ridicule, exploitable ad infinitum—were, according to Rauschning, ‘carefully premeditated’ and ‘intended to disconcert those around him and force them to capitulate’.[2] Hermann Rauschning, who at the time of writing his book hated his former master, had no reason to destroy, as he does, with the stroke of a pen, the legend that aimed to discredit him in the eyes of more than one well-meaning man. Or rather, if he had a reason, it could only be, despite everything, a remnant of intellectual honesty.

As for Rudolf Hess, the comedy of ‘amnesia’ that he played so masterfully at the Nuremberg trial has fooled the most experienced psychiatrists. And the ‘normal’, sometimes even playful, tone of his letters to his wife and son[3]—tone that disconcerts the reader, in a man who was captive for more than thirty years—would be enough to prove his superhumanity. Only an initiate can write, after three decades in a cell, in the light-hearted and detached manner of a husband and father on holiday from his family for three weeks.

The Führer apparently outgrew his masters in the Thule Society (or elsewhere), and escaped the influence that some of them—one will never be clear which ones—would have wanted to have on him. He had to do it, being sovereign, being one of the visages of the One Who Returns.

And if, suddenly, the war took a wrong turn; if, to say the least, the point of no return was Stalingrad, which according to some, was the very site of the ancient Asgard, the fortress of the Germanic Gods, it is undoubtedly because, for some hidden reason, it had to be so. And hadn’t the young Adolf Hitler had that revelation under the night sky, on the summit of Freienberg, at the gates of his beloved city of Linz, at the age of sixteen?

The immediate material cause, or rather the occasion of the fatal turn, must have been not a strategic error on the part of the Führer—it is acknowledged that he never made a mistake in this area—but some sudden and unfortunate stiffening in his attitude towards the adversary. Siegfried, the superman, once showed pride of the same magnitude by refusing, so as not to appear to give in to the threat, and therefore to fear, to return to the Daughters of the Rhine the Ring which was theirs by right.

This gesture would have saved Asgard and the gods. The hero’s refusal precipitated its downfall. The new Siegfried, undoubtedly, also not to appear ‘weak’, although no challenge had been thrown at him, refused to exploit, as he certainly could, the goodwill of these people of Ukraine—anti-communists, aspiring to their autonomy—who had initially received his soldiers as liberators.

(March in Ukraine, historical; SS-Volunteer Division.) Did he do so knowingly, realising that the loss of the war, inscribed in the stars from all eternity, was a necessary catastrophe for Germany and the entire Aryan world, which only the trial by fire could one day purify? Only the gods know. The speed with which Germany, in the first years after the war, took the bait of material prosperity without any ideals, shows how much, despite the enthusiasm of the great National Socialist rallies, it was only incompletely freed from its comfortable humanitarian moralism, and only superficially armed against the Jewish influence, both ‘political’ and profound—that is, in the field of values.
 

______ 卐 ______

 

Editor’s note: This is central.

A few years ago, I used to say that the primary cause of the Aryan decline was that they succumbed to the One Ring, obviously referring to Wagner’s magnum opus, his Tetralogy (see for example: here).

And last year, when I promised myself that I would learn German and started to study it hard, I gave up when I discovered, just by reading the German grammar book I was reading, that the Germans betrayed themselves horrendously after the Second World War. What is the point of learning the language of the Nazis if German speakers are now anti-Nazis?

On this site I have been saying some very harsh things about the Americans. But however flawed their patriotic racialism may be (like what I recently said about Jared Taylor), they at least represent a firm step over the psychological Rubicon in the sense that American white nationalists are no longer in Normieland. They just need to finish crossing it, and The West’s Darkest Hour provides the stepping stones to do so.

What have the Germans done after their Fuhrer lost the war? The traitors donned one of the surrogate rings of the One Ring and have now become wraiths of what they were! I have already said it but it bears repeating:

In Tolkien’s universe, the Ringwraiths, the nine fallen kings or black riders, became the dreaded ring-servants of the Dark Lord Sauron. These Ringwraiths are Great Britain, France, Italy, Germany, Sweden, the other Nordic countries, Australia, Canada, and New Zealand. All of these wimp countries of the American Empire consider the anti-white wars that occurred in the 1860s and the 1940s to be good.

The fiat currencies of the Ringwraiths are pegged to the dollar. When the One Ring is destroyed—when the US dollar crashes—, like Sauron, the kings of these reigns will also lose their power. Mordor’s power comes from the One Ring, from the privilege that its banknotes have become the world’s reserve currency. Since the ring will fall into the Mount Doom lavas in the not-too-distant future, such a milestone will mark the beginning of the fall not only of Mordor, but of the nine Ringwraiths.

If after such a catastrophe the Aryan race manages to survive, it is not clear which Indo-European language will be adopted by the survivors.

________

[1] Rauschning, Hitler m’a dit, page 34.

[2] Ibid., page 84

[3] Frau Ilse Hess published two collections of letters of her captive husband: London, Nuremberg, Spandau and Prisoner of Peace.

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

Reflections of an Aryan woman, 65

Despite the polemics that the name of the Führer still unleashes, more than a quarter of a century after the disappearance of his physical person, his initiation into a powerful esoteric group, in direct connection with the primordial Tradition, is no longer in doubt.

Certainly, his detractors—and there are many!—have tried to present him as a man driven to all kinds of excesses, having been driven by his ‘hubris’ to betray the spirit of his spiritual masters. Or they saw in him a master of error, a disciple of ‘black magicians’, himself the soul and instrument of subversion (in the metaphysical sense) at its most tragic. But their clarity is suspect only because they all take the ‘moral’ point of view—and a false morality, since it is supposedly ‘the same for all men’.

What repels them, and prevents them a priori from recognising the truth of Hitlerism, is the total absence of anthropocentrism, and the enormity of the ‘war crimes’ and ‘crimes against humanity’, to which he is historically linked. In other words, they reproach him with being at odds with ‘universal consciousness’.
 

______ 卐 ______

 
Editor’s note: What Aryans don’t understand is that one has to reject theism and embrace pantheism to save one’s race (see my last comment in another thread).
 

______ 卐 ______

 
But the all-too-famous ‘universal conscience’ doesn’t exist; it has never existed. It is, at most, only the set of prejudices common to people of the same civilisation, insofar as they don’t feel or think for themselves, which means that it is not ‘universal’ in any way. Furthermore, spiritual development is not a matter of morality but of knowledge; of direct insight into the eternal Laws of being and non-being.

It is written in those ancient Laws of Manu, whose spirit is so close to that of the most enlightened followers of the Führer, that ‘a Brahmin possessing the entire Rig Veda’ (which doesn’t mean knowing by heart the 1009 hymns which compose it but the supreme knowledge), the initiation (which would imply the perfect understanding of the symbols hidden therein under the words and images they evoke) it is written, I say, that such a Brahman ‘would be stained with no crime, even if he had slain all the inhabitants of the three worlds, and accepted food from the vilest man’.[1]

______ 卐 ______

 
Editor’s note: This reminds me of ‘Dies irae’, the first essay in my Day of Wrath. The error of Christians and secular neochristians—virtually all whites—is that they think through New Testament value codes; not like the Star-Child.
 

______ 卐 ______

 
Certainly, such a man, having transcended all individuality, could only act dispassionately and, like the sage spoken of in the Bhagawad-Gîta, ‘in the interest of the universe’. But it doesn’t follow that his action would correspond to a ‘man-centred’ morality. There is even reason to believe that it could, if need be, deviate from this. For nothing proves that the ‘interest of the Universe’—the agreement of the action with the deep requirements of a moment of history, which the initiate grasps from the angle of the ‘eternal Present’— sometimes doesn’t require the sacrifice of millions of men, even the best.

Much has been made of Adolf Hitler’s membership (as well as that of several very influential figures of the Third Reich, including Rudolf Hess, Alfred Rosenberg, Dietrich Eckart) in the mysterious society founded in 1912 by Rudolf von Sebottendorf. Much has also been said about the decisive influence on him of readings of a very particular esoteric and messianic character, among others the writings of the former Cistercian monk Adolf Josef Lanz, known as Jörg Lanz von Liebenfels, founder (in 1900) and Grand Master of the ‘Order of the New Temple’, and his journal, Ostara (founded in 1905). We did not fail to recall his close connection with the geopolitician Karl Haushofer, member of the Société du Vril, versed in the knowledge of secret doctrines, which would have been revealed to him in India, Tibet and Japan, and very aware of the immense ‘magic power’ of the Swastika.[2]

Finally, the particular role of initiator played by at least Dietrich Eckart—if not Eckart and Rudolf Hess, although both have always presented themselves in public life as his faithful disciples and collaborators—has been emphasized. Eckart is said to have declared, in December 1923, on his deathbed, before some of his brothers of the Thule Society, that the masters of the said Society, including himself, would have given Adolf Hitler ‘the means of communicating with them’, that is, with the ‘higher unknowns’ or ‘intelligences outside of humanity’, and that he, in particular, would have ‘influenced history more than any other German’.[3]

It should not be forgotten that, whatever the initiatory training he underwent later on, it seems certain that the future Führer was already ‘between the ages of twelve and fourteen’ and perhaps even earlier, in possession of the fundamental directives of his historical ‘self’; that he had already shown his love for art in general, and especially for architecture and music; that he had already shown interest in German history (and history in general); that he was an ardent patriot; that he was hostile to the Jews (whom he felt to be the absolute antithesis of the Germans); and finally, his boundless admiration for all of Richard Wagner’s work.

It seems certain, from the account of his life up to the age of nineteen given by his teenage friend August Kubizek, that his great, true ‘initiator’—the one who really awakened in him a more than a human vision of things before any affiliation with any esoteric teaching group—was Wagner, and Wagner alone. Adolf Hitler retained all his life the enthusiastic veneration he had, barely out of childhood, devoted to the Master of Bayreuth. No one has ever understood or felt the cosmic significance of Wagnerian themes as he did—no one, not even Nietzsche who had undoubtedly gone some way towards knowing the First Principles. The creation of Parsifal remained an enigma for the philosopher of the ‘superman’, who only grasped the Christian envelope. The Führer, on the other hand, knew how to rise above the apparent opposition of opposites—including that which seems to exist between the ‘Good Friday Enchantment’ and the ‘Ride of the Valkyries’. He saw further ahead.
 

______ 卐 ______

 
Editor’s Note: We’ve talked a lot about Parsifal on this site, and I’ve also read what Nietzsche says about that opera (he loved the Prelude). If we take into account what I and others have been saying about Bach’s music, we see that Parsifal was a step forward in that syncretism of the Christian with the Pagan: something that Hitler understood perfectly, although the ultimate goal was pan-Germanic Paganism stripped of Christian influence. The Wagnerian Richard Strauss, who premiered works during the Third Reich, could have continued crossing that bridge but the Allies took it upon themselves to cut off neopagan culture and impose consumer capitalism, or communism, on both sides of the Berlin Wall.

Above I mentioned my ‘Dies irae’. To understand Richard Strauss better, remember what I say there about a symphonic poem I listened to countless times in my bedroom as a teenager: Thus Spoke Zarathustra, Strauss’s opus 30.
 

______ 卐 ______

 
Behind the ‘poetic setting of Wagnerian drama’, Hitler welcomed ‘the practical teaching of the obstinate struggle for selection and renewal’[4] and in the Grail, the source of eternal life, the very symbol of ‘pure blood’. And he praised the Master for having been able to give his prophetic message both through Parsifal and the pagan form of the Tetralogy. Wagner’s music had the gift of evoking in him the vision not only of previous worlds, but of scenes of history in the making; in other words, of opening the gates of the eternal Present—and this, apparently, from adolescence, if we are to believe the admirable scene reported by Auguste Kubizek which would have taken place following a performance of Wagner’s Rienzi at the Linz Opera House, when the future Führer was sixteen. The scene is too beautiful not to take the liberty of quoting it in full.
 

______ 卐 ______

 

Editor’s note: Wagner’s opera is about the life of Cola di Rienzi, a papal notary turned political leader, who lived in medieval Italy and succeeded in overthrowing the noble classes in Rome and giving power to the people. Magnanimous at first, he had to quell a revolt by the nobles to regain their privileges. In time, popular opinion changed, and the Church, which at first was in his favour, turned against him. At the end of the opera the people burned the Capitol in which Rienzi and a few followers met their fate.
 

______ 卐 ______

 
On leaving the theatre in Linz, where they had just seen a performance of Richard Wagner’s Rienzi, the two young men, Adolf and Augustus, instead of going home took, even though it was already past midnight, ‘the path leading to the top of the Freienberg’. They liked this deserted place because they had spent many a beautiful Sunday afternoon there alone in the middle of nature.

Now it was young Adolf who, visibly upset after the show, had insisted that they return there, despite the late hour or perhaps because of it. ‘He (Adolf) walked on’, writes Augustus, ‘without saying a word, without taking my presence into account. I had never seen him so strange, so pale. The higher we climbed, the more the fog dissipated…’

I wanted to ask my friend where he wanted to go like that, but the fierce and closed expression on his face prevented me from asking him the question… When we reached the top, the fog in which the city was still immersed disappeared. Above our heads the stars were shining brightly in a perfectly clear sky. Adolf then turned to me and took both my hands and clasped them tightly between his own. It was a gesture I had never seen him do before. I could feel how moved he was. His eyes shone with animation. The words did not come out of his mouth with ease, as usual, but in a choppy way. His voice was hoarse, and betrayed his upset.

Gradually he began to speak more freely. Words poured out of his mouth. Never before had I heard him speak, and never again was I to hear him speak as he did when alone, standing under the stars, we seemed to be the only creatures on earth. It is impossible for me to relate in detail the words my friend spoke in that hour before me.

Something quite remarkable, which I had never noticed when he had previously spoken struck me then: it was as if another ‘I’ was speaking through him: an Other, in contact with whom he was himself as upset as I was. It was impossible to believe that he was a speaker who was intoxicated by his own words. Quite the contrary! I rather had the impression that he himself experienced with astonishment, I would even say with bewilderment, what was flowing out of him with the elemental violence of a force of nature.

I dare not pass judgment on this observation. But it was a state of rapture in which he transposed into a grandiose vision, on another plane, his own—without direct reference to this example and model, and not merely as a repetition of this experience—what he had just experienced in connection with Rienzi. The impression made on him by this opera had, rather, been the external impulse that had compelled him to speak. Like the mass of water, hitherto held back by a dam, rushes forward, irresistible, if the dam is broken, so the torrent of eloquence poured out of him, in sublime images, with an invincible power of suggestion, he unfolded before me his own future and that of the German people…
 

______ 卐 ______

 
Editor’s Note: For decades I have called this phenomenon ‘the language of the Self’. (Alas, in Neanderthal land where I live, I never had a chance to use it on a mortal; only in my soliloquies.)

______ 卐 ______

 
Then there was silence. We went back down to the city. The clocks in the church towers struck three in the morning. We parted in front of my parents’ house. Adolf shook my hand. Stunned, I saw that he was not going home but back up the hill. ‘Where do you want to go again?’, I asked him, puzzled. He answered laconically: ‘I want to be alone’. I followed him for a long time with my eyes, while he went up the empty street in the night, wrapped in his dark coat.[5]

‘And’, Kubizek adds, ‘many years were to pass before I understood what that hour under the stars, during which he had been lifted above all earthly things, had meant for my friend’. And he reports a little later on the very words that Adolf Hitler pronounced, much later, after having recounted to Frau Wagner the scene that I have just recalled, unforgettable words: ‘It was then that everything began’. That was when the future master of Germany was, I repeat, sixteen years old.

_________

[1] Laws of Manu, Book Eleven, verse 261.

[2] Brissaud: Hitler et l’Ordre Noir (op. cit.), page 53.

[3] Ibid., pages 61-62.

[4] Rauschning: Hitler m’a dit (op. cit.), page 257.

[5] Auguste Kubizek, Adolf Hitler, mein Jugendfreund, 1953 edition, pages 139-141.

Categories
Aryan beauty Galileo Galilee Metaphysics of race / sex Richard Wagner Roger Penrose

‘Time here becomes space’

Sir Roger Penrose, born in 1931, is a British mathematician, mathematical physicist, philosopher of science and Nobel laureate in physics. I recently mocked the old German philosophers’ trick of obscuring prose to start philosophical cults, as in the case of Kant. As Leszek Kołakowski said at the beginning of his monumental demolition of Marxist theory, Hegel’s ideas had already been developed earlier but in simpler language: language whose aim was to make metaphysical ideas comprehensible. That’s the way to go, rather than the artifice of deliberately obscuring the language so that philosophical ‘science’ cannot escape the walls of university scholasticism.

One of the things I like about contemporary philosophers is that they write or speak in a way that makes us understand complex ideas, even the most abstract metaphysics. In the film A Brief History of Time Penrose said, ‘I think I would say that the universe has a purpose, it’s not somehow just there by chance… Some people, I think, take the view that the universe is just there and it runs along—it’s a bit like it just sort of computes, and we happen somehow by accident to find ourselves in this thing. But I don’t think that’s a very fruitful or helpful way of looking at the universe. I think that there is something much deeper about it’.

A year ago in my post ‘Between Ice and Fire’ I concluded: ‘The dialectic of the song of ice and fire in the universe is the dilemma of whether the universe is to cool down eternally due to unnecessary suffering, or whether it is worth returning to the primal fire that makes Being explode again in countless stars…’

But yesterday I got a surprise in this YouTube interview. Penrose mentions something that had never occurred to me.

Once in the very distant future, where there are no more corpses of stars, and not even black holes that evaporate with time (remember Stephen Hawking’s phrase: ‘black holes are not so black’), leaving only photons in an expanding universe, if time ceases to make sense—then space, in our Newtonian sense, will cease to make sense. The moment time ceases to exist, space ceases to exist as well! And that would mean a new beginning or big bang insofar as astronomically large space would be, without time, nothing: equivalent again to a mathematical point or a new singularity.

I hadn’t thought of that possibility. Will the dialectic of the song of ice and fire not end with the Night King’s dream, eternal oblivion because of our misconduct (other ‘darkest hours’ may well be happening in other galaxies due to similar, astronomic stupidities of sentient beings)? It reminds me of a line from Wagner when Gurnemanz takes Parsifal into the castle to see if he can be initiated, and tells him that in that journey time becomes space:

Gurnemanz:
The king is returning from the bath;
the sun stands high;
now let me lead you to our hallowed feast;
for if you are pure, the Grail
will be meat and drink to you.

Parsifal:
Who is the Grail?

Gurnemanz:
That cannot be said;
but if you yourself are called to its service
that knowledge will not remain withheld.
And see!
I think I know you aright;
no earthly path leads to it,
and none could tread it
whom the Grail itself had not guided.

Parsifal:
I scarcely tread,
yet seem already to have come far.

Gurnemanz:
You see, my son,
time here becomes space.

See this exact moment in a performance of the Bayreuth Festival: here.

Penrose’s interview is fascinating, and in this other segment he says something I already knew intuitively: that those who fantasise about creating, say in a decade, artificial intelligence by mere computation will be in for a fiasco because consciousness is not algorithmic. As if that weren’t enough, in this other segment of the interview Penrose talks about beauty: an inherent structure in the universe and even in mathematics (remember, ‘mathematics is the alphabet with which God has written the universe’, said Galileo Galilei). This is why soulless computers, which cannot be indoctrinated by PC nuts, have chosen the white race as the most beautiful.

Since the old incarnation of The West’s Darkest Hour on blogspot I had chosen a painting, Daybreak by Maxfield Parrish, to sum up in a single image my philosophy. When a woke bitch says that beauty is subjective, she’s ignoring that mathematicians have detected how certain symmetrical relationships explain her beautiful facial features. The Roman sculpture we can admire on the sidebar is not the same as a humanoid ape from our remote past: the universe is evolving biologically according to the mathematical beauty inherent in our tastes for sexual selection.

Only the eternal feminine will lead us to the Absolute. It is no wonder why uncle Adolf wanted so much for his close friends to travel with him to the annual Wagner Festival in Bayreuth. But very few understood him…

Seymour Millais Stone
Parsifal and the Grail

Categories
Autobiography Conservatism Richard Wagner Roger Devlin

Violating the first guideline

‘If you are going to talk about serious matters (like killing someone or a coup) don’t ever let the women know about it’. —Jamie

In 2015 I published the first guideline I came up with for a ‘New Aryan code’, which can be summed up in these words ‘Thou shalt only speak to Aryan males’.

Even I, who coined the term fourteen-word priest, fail to comply with the first priesthood guideline.

Ever since my sister got very upset with me when I tried to defend Richard Wagner against the accusations she had been taught at school about Wagner’s attitude to Jews, an argument that ended when my sister not only walked out of the family room but told her teenage son to go with her so as not to listen to me, I had promised myself never to sit with them again.

And I kept it: not even at Christmas did I sit with my family.

But even the priest falters when he lives among little women. Not long ago, still keeping my promise that I wouldn’t sit with her, standing in the kitchen she advised me to go back to school. Since, trying to keep my promise, I didn’t sit at the table, I made the mistake of telling her why that didn’t make sense (can you imagine me in a woke university?).

My sister not only disregarded my arguments, me still standing and her sitting. She escalated her motherly advice to insulting levels. And because I didn’t give an inch to the grotesque advice to go back to college, she was so offended with me that she didn’t speak to me for the next few days!

But the fault was mine. I violated the priest’s first guideline: in profound matters, speak only to Aryan men.

It is easier for a hundred per cent Aryan male, at least genetically, to listen to a priest in private than if we try to do it with one of these little women.

In June this year I published ‘Best Russian film’ about Andrei Rublev. Although the whole film has now been removed from YouTube, it’s worth getting hold of a DVD and watching it at home: an art that is light years ahead of American cinema, and portrays with infinitely more verisimilitude the real world than that of the Hollywood Jews.

It really is worthwhile for the apprentice priest to pause in the torrent of information coming from a media monopolised by Jewry and look into the Russian Middle Ages. Tarkovsky’s film, I said in my June post, has a masterful scene that perfectly portrays the psychology of women. I mean when a Russian girl, after the Tartars destroyed her village and horribly tortured some male villagers (one had liquid metal poured into his mouth with a funnel), still willingly gave herself up to one of the polygamous Tartars!

Not that the Russian girl was a bad woman: her nature is simply to go with the strongest. (That’s why I criticised American Renaissance’s recent conference yesterday, insofar as it only shows that unlike the Nazis those speakers are exactly like Andrei Rublev.) But once one understands the nature of women it becomes obvious that one should never argue with them, although there are great exceptions, such as Savitri Devi.

I write all this because of the email I received today:

César,

Last week I got into a conflagration with my sister that you might have some expertise in:

My sister is a big BLM supporter, who had a BLM sign in her yard for quite some time in 2020. She is also the single mother of two green-eyed, blonde-headed little boys. The fact that the mother of my nephews stumps for a black-supremacist organization is truly galling.

In an angry letter to my cousin, I was ranting something along the lines of: ‘Where does it all lead to? What does she want? For her children to grow up to become the bottom bitches of Mexicans?’

My cousin did not understand my hypothetical, tongue-in-cheek tone, and sent photos of my letter to my sister, who took great offense and is no longer on speaking terms with me.

I sent the below email to her trying to explain the basis of my disdain, and my worry over the long-term prospects of my nephews, but I received no meaningful response in return.

What is occurring in the United States is the institutionalized soul-murder of our children, César! And their mothers are too programmed to stop it.

Regards,

-Ed

Among the racialists only Andrew Anglin and Roger Devlin (one of the speakers at the recent AmRen conference) know the nature of women. The problem with the conservative Devlin is that, as a typical American conservative, he is so feminised that he cannot see that only a revolution à la The Turner Diaries could save us. Nor does Anglin speak of revolutionary violence in the future, but at least his anti-feminist humour is so brutal that he comes a little closer to the priest’s guidelines.

New visitors who wish to educate themselves on the subject should read On Beth’s Cute Tits, linked in the sidebar.

Categories
Richard Wagner

Rabbi admits Hitler & Wagner were right

Rabbi Yosef Tzvi ben Porat explains how they were right in an Odysee video (here). In YouTube, this speech would be immediately censored.

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Currency crash Democracy Richard Wagner

I had said (cont.)…

that ‘I don’t talk about the news’ but I find myself violating that promise again because of the election disaster yesterday and today. Few are talking about the consequences that the disaster will have. But Greg Johnson wrote today ‘Is America a Banana Republic Now?’ which is worth reading.

From the point of view of this site—America delenda est—this is good news.

Remember: the collapse of the dollar is a psychological issue. As markets perceive that the Fed no longer has any interest in keeping its promises, and that the US is increasingly becoming a banana republic, the international confidence in the dollar as the reserve currency will be lost.

Also remember: since the US started with the worst kind of Christianity imaginable, a philo-Semitic Christianity (Richard Wagner’s pagan, anti-Semitic Christianity was the exact opposite), in addition to having fought two anti-racist wars in the 1860s and 1940s and a Cold (anti-racist) War raging now, the priest of the 14 words can only smile at seeing that bastard nation fall.

As an American southern nationalist put it in 2012: ‘We invite King George III to come back and resume the throne. He could dissolve the Union, arrest the pretender in the White House [Biden?], and round up our so-called “representatives” in Congress. In exchange for an apology and a promise to never misbehave again, we get lower taxes, a less intrusive government, secure borders, and an end to all the madness that has flowed from the “self evident” idea that “all men are created equal”.’

To which I added: Alas, King George is no longer with us.

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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…

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Autobiography Friedrich Nietzsche Martin Luther Music Richard Wagner

Wagner vs. Bach, 1

The fourth part of El Grial begins with a dream that I now translate into English:

I was walking on a street by day next to Dad, who pointed out to me, enthusiastic and joyful as his character, the great church—or wall of a great church, rather like a Gothic cathedral—while I felt real horror for the (not glimpsed, only felt) kind of gargoyles, low relief sculptures or external figures of a very dark-stone cathedral. The contrast between the spirited Dad in pointing out to me that Christian bastion as something so positive that he even smiled at me and the horrified son—although I corresponded to Dad’s smile from my height as a child with another smile to be nice with him—couldn’t be greater.

Then I commented that over the years I had several dreams with that theme. I interpreted that my father lacked enough empathy to realise that traditional Catholic doctrine, which seemed so positive to him, horrified his little firstborn.

I recently said that Parsifal’s music has been one of my favourites, despite the fact that the opera characters are quasi-Christian knights that Wagner devised. Wagner’s last opus is not a hundred percent Christian insofar the script never names Christ or Christianity. Rather, it resembles the spirit of the Germanic sagas in times of Christian conversion, when something of the ancient pagan spirit was still breathed. In this first entry about how I contrast Wagner with Bach I confess that, unlike Parsifal, traditional Christian music has horrified me as much as that series of dreams with which I opened this post.

Iconoclasm, even in music, is a thorny topic. If we proclaim the transvaluation of all values the question immediately arises: What to do with the so-called sacred music after the anti-Christian revolution conquers the world? We have already seen that Nietzsche loved Parsifal’s music but abhorred its message, especially the chastity of the quasi-Christian knights. In my opinion, Wagner, Hitler’s favourite composer, is salvageable but how should we treat sacred music from his predecessors?

Unlike Richard Wagner (1813-1883) who flourished a century after the death of Johann Sebastian Bach (1685-1750) Bach had no passion for the Germanic sagas of the pagan past. On the contrary: Bach composed his music for the main Lutheran churches in Leipzig, and adopted Lutheran hymns in his vocal works. The hundreds of sacred works that Bach created are generally seen as a manifestation not only of his craft, but of his great devotion to the god of Christians: the very god of the Jews. Bach even taught Luther’s catechism as Thomaskantor in Leipzig, and some of his pieces represent it. For example, his very famous St Matthew Passion, like other works of this type, illustrates the Passion of (((Christ))) directly with biblical texts.

Compare all this with Wagner’s relatively paganised work who didn’t quote the gospel: a musician who, by introducing pre-Christian elements in his operas, was already starting to shake off the Judeo-Christian monkey from his back. But before continuing my talk about Bach I would like to quote, once again, the words of Nietzsche that appear in The Fair Race:
 

§ 61

Here it becomes necessary to call up a memory that must be a hundred times more painful to Germans. The Germans have destroyed for Europe the last great harvest of civilisation that Europe was ever to reap—the Renaissance. 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… To attack at the critical place, at the very seat of Christianity, and there enthrone the more noble values—that is to say, to insinuate them into the instincts, into the most fundamental needs and appetites of those sitting there…

I see before me the possibility of a heavenly enchantment and spectacle: it seems to me to scintillate with all the vibrations of a fine and delicate beauty, and within it there is an art so divine, so infernally divine, that one might search in vain for thousands of years for another such possibility; I see a spectacle so rich in significance and at the same time so wonderfully full of paradox that it should arouse all the gods on Olympus to immortal laughter: Cæsar Borgia as pope!… Am I understood? Well then, that would have been the sort of triumph that I alone am longing for today: by it Christianity would have been swept away!

What happened? A German monk, Luther, came to Rome. This monk, with all the vengeful instincts of an unsuccessful priest in him, raised a rebellion against the Renaissance in Rome…

Instead of grasping, with profound thanksgiving, the miracle that had taken place: the conquest of Christianity at its capital—instead of this, his hatred was stimulated by the spectacle. A religious man thinks only of himself. Luther saw only the depravity of the papacy at the very moment when the opposite was becoming apparent: the old corruption, the peccatum originale, Christianity itself, no longer occupied the papal chair! Instead there was life! Instead there was the triumph of life! Instead there was a great yea to all lofty, beautiful and daring things!

And Luther restored the church.