Monday, July 30, 2012
As a child have you ever wondered why pointed hats[often decorated with lunar, stellar and solar symbols]were associated with witches?
It would appear that this headgear truly was worn by witches-or more likely priestesses/priests or shamans amongst various Aryan peoples.
At Subeshi in China the mummies of Europoid women have been discovered with this kind of head gear which scholars associate with the Indo-European speaking Tocharians or Iranians.[See The Tarim Mummies by J.P. Mallory and Victor H. Mair].
There is strong linguistic evidence to support the idea that Aryan priests and fortune tellers were present in the Shang and Zhou dynasty courts, probably in service to blonde haired Aryan emperors[Yellow Emperors] who ruled as the first emperors of China, over a subjugated mongoloid population. These priests were called Magi, the plural of the Old Persian Magus. Archaeological evidence indicates that these Magi had Europoid facial features. Their conical headgear has also been associated with the Aryan steppe tribes.
Theirs was a fire cult and they served a sky god.
A recently broadcast television documentary[Museum Secrets] brought to my attention the discovery of ancient gold hats, one of which is on display in the Neues Museum in Berlin. Three others are in existence and all were found in Germany and France, indicating the existence of a Bronze Age solar cult in central Europe.
So it would appear that the image of the pointed hat wearing witch or warlock is not as far fetched as it once seemed!
Saturday, July 28, 2012
As the morons glue into the ZOG ZION 2012 Olympic Games I wonder how many of these sheeple realise the National Socialist origins of the torch relay or the Aryan pre-christian origins of the flame itself?
If they did I am sure that they would be crapping in their multi-culti flip flops!
Taken from Wikipedia:
The olympic flame of the 1952 Summer Olympics visiting in Jyväskylä, Finland
The torch relay of the 2002 Winter Olympics passes through Cincinnati, OhioThe Olympic Flame is a symbol of the Olympic Games.Commemorating the theft of fire from the Greek god Zeus by Prometheus, its origins lie in ancient Greece, where a fire was kept burning throughout the celebration of the ancient Olympics. The fire was reintroduced at the 1928 Summer Olympics in Amsterdam, and it has been part of the modern Olympic Games ever since. In contrast to the Olympic flame proper, the torch relay of modern times which transports the flame from Greece to the various designated sites of the games had no ancient precedent and was introduced by Carl Diem at the controversial 1936 Summer Olympics in Berlin.
The Olympic Torch today is ignited several months before the opening ceremony of the Olympic Games at the site of the ancient Olympic in Olympia, Greece. Eleven women, representing the Vestal Virgins, perform a ceremony in which the torch is kindled by the light of the Sun, its rays concentrated by a parabolic mirror. The torch briefly travels around Greece via short relay, and is then transferred to the host city at a ceremony in the Panathinaiko Stadium in Athens.The Olympic Torch Relay ends on the day of the opening ceremony in the central stadium of the Games. The final carrier is often kept unannounced until the last moment, and is usually a sports celebrity of the host country. The final bearer of the torch runs towards the cauldron, often placed at the top of a grand staircase, and then uses the torch to start the flame in the stadium. It is considered a great honor to be asked to light the Olympic Flame. After being lit, the flame continues to burn throughout the Games, and is extinguished on the day of the closing ceremony.
Sunday, July 22, 2012
The sacred Aryan music of Wilhelm Richard Wagner[1813-1873]can achieve in the Aryo-Germanic unconscious an awakening and this happened to me in 1989 when I became exposed to excerpts of music from Der Ring des Nibelungen, his greatest and most epic work which consists of the music dramas of Das Rheingold, Die Walkuere, Siegfried and Goetterdaemmerung.
Still today whenever I listen to any of his music dramas-please note that he never referred to them as `operas`, I experience spiritual enlightenment.
Listening to this pure Aryan music is akin to meditating on the great sacred symbols of our race such as the Runes, the Sunwheel, the Swastika et al. It causes a connection to be established with the Volksgeist[the folk soul] and our ancient Gods.
Significantly Wagner composed 13 music dramas:
Der Fliegende Hollaender
Tristan und Isolde
Die Meistersinger von Nuernberg
They mainly take their inspiration from Germanic or Celtic mythology and mediaeval romances. Wagner was a visionary, a genius poet and composer who became destined to act as a channel of inspiration for the Volksgeist in the 19th century and he continues to inspire us today with his sheer genius.
It is for good reason that Wagner is hated in Israel and by many Jews throughout the world for they realise that his music has the potential to rearouse the German, Germanic and Aryan peoples again just as they were aroused in the years preceding 1933 in Germany. Wagner was also one of the few who were sufficiently aware and brave enough to expose the meddling of the Jews and their pollution of Aryan art forms in his groundbreaking essay Das Judenthum in der Musik.
What a difference there is between Wagner`s music and the crap that is mass produced today by mainly Jewish record companies, most of which is negro rap music which turns my stomach everytime I am unfortunately exposed to it.
We can counter their pernicious influence by the playing of Wagner`s music and exposing it to the arising generations along with our sacred Aryan symbols in order that it may begin to influence them also and ground in them a racial awareness and pride.
We must never forget that music is like a physical/psychical symbol-it communicates directly with the unconscious mind and is worth more than a thousand books!
Saturday, July 14, 2012
Following my viewing of the latest production of Der Ring des Nibelungen directed by Richard Lepage over the previous two weekends I have now seen certain aspects of Wagner`s munumental work from a different perspective.
One insight which I gained was the way in which the four individual music dramas which make up the tetralogy reflect the Aryan concept of the four ages.
Das Rheingold clearly represents the world of the Gods and the cosmos in its pristine early state when everything was new and fresh. The `gold` in Rheingold signifies this and the age of pure spirit.
This music drama which serves as a `prelude` for the other three parts of the cycle sets the scene for what is to follow. Unlike the other three parts it is not divided into acts but is a continuous performance which moves through four different scenes. Being the shortest of the dramas at just 2 1/2 hours it is traditionally performed on an evening prior to the other three dramas which are performed during the day as the others exceed 4-4 1/2 hours in length.
Das Rheingold is primarily concerned with the world of the Gods, not men although there is an excursion or foray by the Gods into the world of the dwarves-the Nielungen during Scene 3.
However despite the freshness and the grandeur of this age the seed is already sown which will lead to the ensuing conflict in the following three dramas or cycles of the ages and this is manifested through the curse of the Ring, made from the gold of the Rhein and stolen from the Rheintoechter by the evil dwarf Alberich, who represents the grasping and greed of that species, which is ugly both in appearance and in psychological make up. I am sure my regular readers will understand who I am referring to.
Ageing, something which was hitherto unknown is introduced through the kidnap of the beautiful Goddess Freia by the ugly giants, Fasolt and Fafnir who desire to possess this Goddess, just as many of the hooknosed tribe thoughout the millenia have sought to seduce and violate Nordic Aryan women and their infection is to be found even in the bloodstream of modern European nobility, a nobility which has bartered its blood inheritance for a few shekels.
The theft of Freia and her golden apples[in Germanic mythology these apples belonged to Idunn]causes the Gods to age and it is only with the intervention of Wotan and Loge that this situation is resolved. However the curse of the Ring then transfers from Alberich to Wotan. Whoever possesses this Ring is consequently infected with its curse if he is in full knowledge of the Ring`s true ownership[that of the Rheintoechter] and does not seek to return it to its true owners.
In a sense the Rheintoechter although Godesses[being daughters of Wotan]are guardians of the inheritance of the German people and their inheritance over the years has been plundered by aliens-in particular by the Jews and the state of Israel in the form of reparations for something that they are not responsible for. The Rheintoechter demand the return of their material and spiritual inheritance-for the gold represents both and they have cursed all those who knowingly possess it.
During the latter part of this Golden Age or Satya Yuga conflict and war make their appearance with the conflict between the Gods and the giants, who represent forces of chaos and base inert matter-the conscious versus the unconscious.
Die Walkuere represents the Silver Age or the Treta Yuga. The Gods are still preeminent in this drama and cycle but conflict continues to grow and the Gods themselves become divided. Wotan is in conflict with his consort Fricka and Bruennhilde is banished from Walhall by her father Wotan for disobeying His command although She fulfilled His internal and secret Will.
Humanity and in particular Germanic heroic humanity makes its initial appearance in this part of the cycle with the emergence of the Waelsung clan, fathered by Wotan and so like all true Germanic and Aryan heroes of semi-divine origin. The Waelsungs in effect represent the Germanic people who are themselves children of the Gods. Siegmund and his twin sister Sieglinde continue their dynasty with the birth of their child Siegfried in the next part of the cycle Siegfried.
The Silver age represents the decline of the Gods but the emergence of the semi-divine Aryan hero.
It also represents the decline of spirit into matter with the fathering of the Waelsungs who are essentially part human and subject to death.
Betrayal also begins in this epoch as Siegmund is betrayed and killed by his father Wotan who in turn finds Himself a prisoner of fate and under the influence of Fricka. He is constrained in His actions.
In Act 3 of Die Walkuere Wotan robs Bruennhilde of Her divinity for Her disobedience and puts Her to sleep surrounded by a wall of flame. Again we see the beginnings of the descent of divinity and spirit into matter.
Siegfried is concerned entirely with the world of men-Midgard and represents the Bronze Age-the Age of Heroes or the Dvapara Yuga. God is dethroned-man becomes God. Although Wotan appears in this drama He is disguised-aleit thinly as Der Wanderer who wanders in Midgard to seek knowledge and wisdom and to impart it[the perpetual quest of Aryo-Germanic man]. In effect Wotan has become man as has the Valkyrie Bruennhilde who has become woman. Matter in effect has overcome-albeit temporarily-spirit.
This is further exemplified with the shattering of Wotan`s speer Gungnir on Siegfried`s sword Nothung. The power of the Gods is thus broken and man takes centre stage. Gungnir also represents those binding contracts that sustain the cosmos and with its shattering all contracts are broken. Chaos finds its genesis and betrayal its fullfilment in the next drama Goetterdaemmerug. Siegfried possesses Bruennhilde and She imparts to him her divine knowledge-the wisdom of the Runes.
Goetterdaemmerung the last and longest part of the cycle represents the Iron Age, the Dark Age, the Wolf Age or the Kali Yuga. Decay and betrayal find their climax.
Again all the action takes part in Midgard and although Wotan is referred to He no longer makes His appearance which speaks to me of the current crisis where Germanic man is cut off from His Gods, from his divine self. Siegfried unwittingly betrays Bruennhilde due to the potion given to him by Gutrune, the sister of King Gunther, the lord of the Gibichung dynasty on the Rhein. In turn Gunther and his half-brother Hagen betray and murder Siegfried. The Norse Eddas make clear that prior to Ragnarok that brother will betray brother and Siegfried and Gunther were both brothers-in-law and blood brothers by the mingling of their blood and the swearing of a holy oath.
At the climax of this drama Walhall goes up in flames and Bruennhilde shares Siegfried`s funeral pyre after she casts the cursed Ring back into the Rhein to the delight of the Rheintoechter and Goetterdaemmerung closes in the way that Das Rheingold begins. Is this why it is called a `cycle`? This is certainly how the ages appear and reappear as following this Kali Yuga a new Golden Age will begin!