On Spain and literature – V

retrato de soledad anaya
 
My Mac broke down again (I didn’t fix it properly the previous time for lack of funds) but I’ll use a borrowed laptop because I’ve read a classic in Spanish literature and would like to say something about it.

Quoting Julio Rodríguez-Puértolas, on page 7 of The Culture of Critique Kevin MacDonald wrote:

A prime example is The Celestina (first edition dating from 1499) by Fernando de Rojas, who wrote “with all the anguish, pessimism, and nihilism of a converso who has lost the religion of his fathers but has been unable to integrate himself within the compass of Christian belief.” Rojas subjected the Castilian society of his time to “a corrosive analysis, destroying with a spirit that has been called ‘destructive’ all the traditional values and mental schemes of the new intolerant system. Beginning with literature and proceeding to religion, passing through all the ‘values’ of institutionalized caste-ism—honor, valor, love—everything is perversely pulverized.”

I confess that I found La Celestina quite boring, but I am not sure if it would be proper to catalogue this comedy—because it is a comedy—as “destructive” in the sense that MacDonald (who doesn’t seem to have actually read it) put it.

en la estacaHowever, it is true that Fernando de Rojas felt alienated in the late 15th century Spain. Some of his biographers even claim that, when Rojas was a bachelor studying in Salamanca, he received the tragic notice that his father, a Jew converted to Catholicism, had been condemned to die at the stake by the Inquisition.

As crypto-Jews usually did, Rojas married a converso woman; i.e., an ethnic Jewess, the daughter of Álvaro de Montealbán. De Montealbán also suffered a trial by the Inquisition and, although Rojas was a very successful lawyer by profession, he was not allowed to defend his father-in-law because Rojas was also of Jewish heritage, and therefore suspicious.

La Celestina was a huge bestseller of the time, even in translations outside Spain, but Rojas was always scared for having written it in his youth and, for forty years, remained silent about his authorship.

See my recent entry about the Spanish Catholic Kings Ferdinand and Isabella, who in 1492 promulgated a law to expel those Jews who didn’t want to convert to Christianity. The Jews who had lived in Spain for centuries had to go and the conversos who stayed became second-class citizens for the next centuries. The mission of the Inquisition was to keep under close scrutiny the conversos and see if they continued to practice their religious ways in secret.

Except for the first act, which was not authored by Rojas but by a non-Jew (either Juan de Mena or Rodrigo de Cota), as I said I found the comedy boring. Whatever the influence of this searing exposé of the Neo-Platonic idealization of women, an idealization so common in popular authors those times such as Petrarch, it probably didn’t go beyond the similar exposé by Cervantes of the chivalric novels of the age. To my taste mentioning La Celestina in the first pages of The Culture of Critique is a little off the mark, especially when taking into account that the most hilarious pages against women were authored by a gentile.

Rojas died in 1541, four years after Pope Paul III granted the bachelor soldiers in America permission to mix their blood with Amerind women. Now that I’ve just read the book I’d say that, although there’s a ring of truth in what MacDonald quoted, it should be obvious that the Spaniards’ lust for gold (see my previous entry about my teacher of literature), together with Catholicism, were the main cause of their racial suicide in the Americas. In those centuries conversos rarely got—as Rojas did—positions of cultural influence in this society that seriously tried to get rid of the subversive tribe. For those knowledgeable of the history of Spain and of Spanish literature, it would be laughable to hear that the book written by Rojas was a factor in the mestization of the New World.

Isabel (TV series)

I’m relocating this paragraph, originally posted on October 30:

I’ve just watched the first season of Isabel, a 2012 Spanish-produced historical and fictional TV series about the life of Queen Isabella I of Castile, and I am afraid to say that the Spanish media is now Hollywoodesque. The Jew Andrés Cabrera (1430-1511), who in real history held a key position in the control of the royal treasury, is depicted as an innocent lamb and the anti-Semite Juan Pacheco (1419-1474), interpreted by Ginés García Millán (extreme left on the pic below), as an unscrupulous and ambitious fanatic. Long ago was that era when the Spaniards founded the first Judenfrei city in the American continent (a city where I was born and still happen to live in…).

isabel-tv

Now (December 23), that I watched the second, 2013 season of the series, I found myself making copious notes, especially how the scriptwriters handled the expulsion of the Jews from Spain by the end of the 15th century. But before that it is interesting to see that in this season the Archbishop of Toledo tells Ferdinand of Aragon, “She [Isabella I] has stolen you the right that by natural law is only of males,” the right to rule.

Feminism in the 15th century? In the first episode of this second season it is said that this couplet was sung in a Castilian tavern:

Isabelle and Ferdinand reign backwards
Governs the lady and not the Aragonese
Like Henry our former king, Ferdinand,
faced with a female gets smaller…

In Spanish it rhythms. Despite its political correctness, the series surprised me because it is the first time in my life that I see on film a reenactment of the civil war between the old Christians (ethnically non-Jews) and the new Christians of Spain (ethnically Jewish).

In Isabel the first major conflict between these two groups is located in Burgos, and it reminded me that in Separation and Its Discontents Kevin MacDonald writes specifically about this conflict. It shocked me to learn in Separation that the Jews were allies of the medieval kings, who used the subversive tribe in their conflicts against their own people. In the Isabel series, Isabelle at least is depicted as reversing this process and demanding: “Mark them all with a round, scarlet ring on their clothing to facilitate their identification wherever they are.”

The converso Andrés Cabrera shouts after such measure, “She didn’t hesitate in humiliating them! She has paid allegiance with infamy!” It is interesting that in the whole series it is the first time that this “converso” is critical of the crown (in the previous season he had always been loyal to Henry IV of Castile). But Isabelle, nonetheless, names the very respected figure of Abraham Senior, a rabbi, as her collector of taxes—still following some steps of the traitorous medieval kings.

Following the advice of her two influential advisors, the rabbi and the converso Cabrera, Isabelle commands Cabrera to destitute the mayor of Segovia, substituting him for a cousin of the converso.

isabel y judío etnico

Once in power the Jew betrays the queen’s confidence and there’s an uprising when even the queen’s daughter is on peril of being abducted by the rabble that suffered the taxes of the new mayor. But the betrayal is not depicted clearly so as not to give the impression that blame should be placed on the subversive tribe. While the converso Cabrera is sent on exile, it is a shame that the producers missed the opportunity to illustrate for the Spanish audience how the “rise of the Jews” runs parallel to the dispossession of the natives to the point that the natives react. The producers knew their history well, but were very reluctant to offend sensitivities and watered down the crude facts.

The influential and most respected rabbi Abraham Senior, in addition of being very white, is depicted as noble, temperate, compassionate and wise. In contrast, a Christian rabble is shown throwing a stone on his head. The inhabitants of Burgos “have thrown false accusations against my own,” claims the rabbi. However, even in this politically-correct series once in a while the point of view of the Old Christians is heard. A Dominican monk says vehemently:

“Your Grace: The Christian converts have only costume. Their mission is to infect our religion from within to destroy it. May God have mercy with a benevolent Castile with heretics.”

But the series had to immediately amend the rant somehow. Fray Hernando, a Hieronymite monk and confessor of the queen, asks in private the Dominican why he is full of hate. The Dominican refutes him with proof that the conversos in fact “Judaize” in private, the word in vogue in those times to mean that the conversos continue to circumcise their children and maintain food restrictions. “The rage of the old Christians is righteous” he says.

Then a great conflict explodes between the Jews and the Christians of Seville. “This Dominican slandered us!,” says a Jew (pic above beside the queen). Unfortunately, instead of representing the conflict fairly, the episode puts a bigoted woman saying that a medicine of a Jewish physician could invoke demons: a typical inversion of the Spanish theatre of yore when the Jews were depicted as wicked and the Christians noble. After a scene the king Ferdinand congratulates the Jew physician for having made fertile Isabelle again. He is overjoyed.

Reyes

The actors chosen for the emir of Granada in the Alhambra and his heir are good-looking, which means that they are not to be seen as the “bad guys” of the series. The emir is also a good lover who treats the white Christian woman who was abducted as a westerner would treat his wife (nothing of the sort of how abducted white women were treated in the harem).

Back in Seville, a cardinal suggests Isabelle to found a tribunal for the faith, the Inquisition, in Spain. But just as the old emir and young heir are depicted almost as good, the conversos of Seville are depicted as innocent and noble. Nonetheless, “the tribunal of which you speak, that still does not exist, would condemn only those who claim to be Christians but lie,” says Fray Hernando once he opened his eyes that some conversos were, indeed, “Judaizing” privately.

A home of conversos, depicted almost as pure doves, is assaulted by a mob of enraged Christians who cut the throat of a child and write on the wall the word “MARRANOS” with the child’s blood before leaving.

“Look to what those dogs that call themselves Christians are capable to do to a child,” with a close-up on the dead child, says the father. “Do you believe,” the converso tells his daughter, “that one of these good Christians we have as servants lifted a finger?”

Then the extended Jewish family of the converso arrives to wash the body of the assassinated child and the converso puts a crucifix inside a box, while all present recite something in Hebrew. The daughter, however, who is a maid of the queen, knows that this is highly dangerous business and suffers inwardly.

Fray Hernando, the queen’s confessor tells Isabelle: “Purifying the faith of converts will be a mission full of obstacles,” and the Inquisition starts its first activities in Spain. In Seville’s square Tomás de Torquemada warns: “There will be no pity. Every Christian who suspects of someone who Judaizes should report it.”

After these first actions Fray Hernando warns Torquemada that the dungeons are filled, even with innocents, though he concedes that some of them “Judaize.” Burning at the stake is still forbidden, and Torquemada’s first action was the confiscation of goods and mandate the use a penitential garment, the sanbenito, for a Judaizer woman who still celebrated the Sabbath and other Jewish ceremonies.

Then a tragedy occurs. The whitest dove of the series, the candid teenage Jewess who worked as the queen’s maid, is caught when trying to conceal evidence in the royal palace: evidence incriminating her father. She is sent to the torture chamber.

en potro

The visual details of her torment are shown to the naïve Spanish viewers in this episode that was aired recently. Under torture the candid Jewess confesses that she was only trying to save her father’s skin and is released. Isabella finally permits capital punishment. The converso father is caught and, unwilling to repent publicly by means of kissing the cross while he is tied on the stake, is burned alive.

en la estaca

The episode ends with a voice in off shouting: “The Jewish plague that ravages Christendom! The plague!”

In the next episode something is missing. In real history the Alhambra musicians had been blinded so that they did not see the naked women dancing. In this sanitized Alhambra none of these barbarities is shown when filming the musicians.

“El Cordobés,” the queen’s best friend and a soldier under the command of Ferdinand (second form left to right in the first pic at the beginning of this entry), one of the non-whites of the series, is shown as militarily wiser compared to Ferdinand after a humiliating defeat inflicted by the Moors.

The converso problem is introduced again but this time in the kingdom of Aragon. In the whole series of Isabel it is shown the conflict between the Christians and Jews and between the Christians and the Moors, but not between the Jews and the Moors. In Aragon a meeting is celebrated with the representatives from the three groups. A converso makes an oath of obedience to king Ferdinand. But other furious conversos assassinate the Dominican monk who would preside the Inquisition in Aragon. The Jewish conspirators are caught, decapitated and their heads shown on stakes.

In the next episode non-Christians are about to be expelled from Malaga. It shows the Iberian blunder in a nutshell: to believe that sprinkling drops of water on Moors or Jews will solve the problem once and for all. (Remember that a thousand years earlier the Iberian Goths fell into the Galilean cult, thus abandoning their healthy anti-miscegenation laws.) Instead of using the race standard, a powerful Spaniard says that they must “expel from Malaga all those who don’t believe in our lord Jesus Christ.” The converso Cabrera and Abraham Senior are worried about the fate of hundreds of Jews in the Alhambra, that will be invaded soon. Here we go again with the non-racial standard in the words of Isabelle about a boy, the heir of the emir who had fallen under her power:

“Today Juan de Granada has been baptized. He was born under the yoke of Islam but thank God he has escaped its clutches. He has reached our faith and as our brother in Christ we welcome him with joy.”

“Our brother in Christ”… This reminds me the words of how American Christians speak about the Negro. In this film shot, just when pronouncing those solemn words in court before the noblemen, a very dark Christian woman is seen beside the mother of the baptized boy.

Ferdinand gets sick during the military campsite and Isabella takes her Jewish physician to the war zone. Later it is told that 450 Jews of Malaga are now slaves: most of them women who talk Arabic or Hebrew and dress like Morisco women. Cabrera and Abraham speak of the huge quantities of gold that they must gather to free them.

Then the episode takes a nasty turn: blood libel. An innocent Jew is taken before Torquemada accused of kidnapping and ritually murdering a Christian kid. (Incidentally, on this subject I disagree with both Andrew Hamilton and Harold Covington. Like MacDonald, I believe that those kind of charges were spurious, although they reflected the legit rage of the old Christians.) On the rack of torture the accused Jew is, once more, depicted as an innocent sacrificial lamb. You have to watch the series and see the face of the man while the Inquisitor wants to extract a confession about “the abduction and murder of that innocent creature.” Alas for the Jew they continue the torture as he cannot confess a crime that he didn’t commit. Torquemada doesn’t want to hear that those who owed money to the Jew invented the accusation and the influential Abraham Senior is allowed to visit the accused in the dungeon.

I must say here that the physiognomic distinction between Christians and Jews is erased in the series. Any viewer would only see two Iberian whites talking to each other in the above scene between Abraham and the accused. This differs from the iconography of the peninsula of those centuries when the races were painted together (e.g., here).

Later Abraham Senior speaks with Torquemada and, naturally, the scriptwriters put Abraham as noble and Torquemada as wicked—black and white. Says Abraham when talking to the accused:

“You know that from time to time the Gentile rage is unleashed against us.”

After another discussion between Abraham and the accused, the latter is left crying with a little face that makes most viewers feel pity.

Christopher Columbus appears many times in these later episodes. The scriptwriter and director make him say, “…a Granada that agonizes under the yoke of Castile.” Soon after Ferdinand and Isabelle tell her physician, “Remember that in your hands is the life of the heir of Castile and Aragon,” the ill son of the kings whom then Jew saves.

More tortures are shown on the poor thing until he claims something that a Mesoamerican would have said in real life, “I was. I murdered that boy. I opened his chest to pull out and eat his heart…” Then Torquemada makes him confess who are his “accomplices” and the poor thing has no other choice but to incriminate other ethnic Jews to end the torture.

A little later in the episode the words of Columbus expose, once more, European idiocy in a nutshell: “…to extend the Catholic faith into unknown lands.” A Spartan, a Visigoth or a NS German would have said instead, “to extend our race into unknown lands.” Extermination or expulsion of non-whites into a corner of the continent was well beyond the Christian sensibilities of those times. Thus the blunder of baptizing Moors in the Iberian Peninsula would be committed again, at the other side of the Atlantic, but this time in a whole continent and on a massive scale. (What was the point of allowing such measures against the kikes if Iberian whites could not protect their own ethnicity in America? Shouldn’t a solution to the kike problem automatically mean a solution to further Iberian white decline? Food for thought for those who still stick to their monocausal monologues in their echo chambers.)

In the following scene Torquemada (left on the pic) launches a speech against the accused, two Jews and six conversos that, in his mind, murdered the Christian child ritually. They are to be burned alive at the stake in addition to confiscating their goods. The Grand Inquisitor even humiliates them further by making them know that the confiscated funds would be used in a newly founded Christian monastery.

torquemada

The whole script of this second season that started in September and finished this month follows the lachrymose, now mandatory version of the history of Jewry. Overall, the reviews of Isabel have welcomed the series, given the number of nominations and awards, both national and international.

Intellectually, traditional Spaniards have been completely disarmed to talk back that the actions of the Inquisition are understandable, and even positive, when viewed from the viewpoint of the clash between two ethnic groups. Within their current, postconciliar Catholic paradigm they will never be able to prevent further demoralization. On the other hand, if Separation and Its Discontents was translated and became a bestseller in Spain, they could understand this historical conflict.

The final episode depicts the peaceful takeover of the Alhambra and has Isabelle hesitating about establishing the Inquisition in Granada. The queen also says, “It is a great opportunity to bring our faith to the Indies.”

It may seem incredible but with the benefit of hindsight—having read MacDonald’s book, which PDF is linked above—the pro-Western reader has to conclude that, leaving all PC BS propaganda aside, Torquemada was the real hero of this story. He is shown as telling the queen:

“The Jews are the real danger to our faith, the source of all heresies. You must remove the evil from our kingdoms. Once Islam has been defeated they know it is their turn. Teach them a lesson! It’s time!”

Words that have to be pronounced again in Europe once the Eurabian problem is solved later in this century! Ferdinand discusses with Isabelle for the first time the final solution to the Jewish problem: expelling them all, and reminds the queen that they have already been expelled from France and other kingdoms. Torquemada wants to expel every ethnic Jew; Isabelle wants to spare those who would embrace Christianity. For Torquemada it is clear that it is impossible to really convert a Jew.

On 31 March of 1492 the expulsion starts with a public declamation by Torquemada: “We demand that all Jews get out from our kingdom” while sad Jews listen. Later in this last episode king Ferdinand says, “The Jews will never disown their faith.” Then the exile is visually depicted.

expulsion judas

“I need you. Who will heal my family now?” tells a concerned Isabelle to her parting physician.

The season ends with this episode #26, with a stunning image of the three caravels of the first of Columbus’ expeditions parting into the Atlantic ocean. Those who know Spanish can watch the entire series for free: here.

On Spain and literature – IV

retrato de soledad anaya
 
Apropos of what I said in my previous post about blaming the Iberians’ lust of gold for their inter-breeding in the Americas, let me quote a translation of some lines of one of the poems of Francisco de Quevedo (1580-1645), “Poderoso caballero es don dinero,” that I reread recently in the book of my teacher Soledad Anaya (pic).

When Quevedo writes, “in the Indies did they nurse him” he means of course that gold is found in the newly-conquered West Indies, the lands of New Spain (now Mexico); and when he says “in Genoa did they hearse him” he means that the gold is buried as jewelry with the corpses of the wealthy merchants of the Italian city Genoa.

Mother, unto gold I yield me,
He and I are ardent lovers;
Pure affection now discovers
How his sunny rays shall shield me!
For a trifle more or less
All his power will confess,
Powerful knight is don money.

In the Indies did they nurse him,
While the world stood round admiring;
And in Spain was his expiring;
And in Genoa did they hearse him;
And the ugliest at his side
Shines with all of beauty’s pride;
Powerful knight is don money.

Noble are his proud ancestors
For his blood-veins are patrician;
Royalties make the position
Of his Orient investors;
So they find themselves preferred
To the duke or country herd,
Powerful knight is don money.

Never meets he dames ungracious
To his smiles or his attention,
How they glow but at the mention
Of his promises capacious!
And how bare-faced they become
To the coin beneath his thumb
Powerful knight is don money.

I’m not sure if the translation of “…to the duke or country herd” conveys accurately the meaning. In the original Spanish it says that the yellow metal “hace iguales al duque y al ganadero,” makes the duke and country herd equals.

You can imagine how the young and ambitious commoners in those times (like Cortés) looked for chances of upward mobility in the “West Indies.”

See Dr. William Pierce’s take on this very subject: here.

Massive Iberian screw-up

As a postscript to my recent post about why the single-cause hypothesis in White Nationalism is untenable—that is, that “Whites can do no wrong and are the eternal victims of Jewish deceit and aggression”—, let me clarify something I said about the Iberian side of the conquest of America and New Spain in particular.

mestizo kid

(A Mestizo kiddie: the symbol of the Iberian blunder.)

The main culprit of the extremely thorough mestization that took place in the American continent at the south of Río Grande, all the way to the lands of the Incas in South America, was the Iberians’ lust for gold and silver.

That was the main culprit that in this blog I have called, inspired in Wagner and Tolkien, as falling prey of the One Ring or “economics over race” policies. That’s also why, at the very top of this blog, I include an image of the real god of spoiled whites, Mammon.

The second culprit was the Catholic Church that allowed the bachelor Spaniards in the continent to marry Amerindian women with a Pope bull only ten years after the conquest of the Aztec Empire. Christianity in general is blind to racial matters and the Church did not give a damn about the havoc that such bull would cause. (The Catholic Church was so powerful in New Spain that by the end of the 17th century it owned more than half of its territories.)

Those are, in my view, the two main factors that explain how the Iberians massively screwed up the continent.

As I said in my previous post, this case proves that whites are capable of committing ethno-suicide by themselves, without the help of the subversive tribe, the Jews, who were persecuted and dispatched when detected in the three-hundred year period that lasted the Colonial times. (Hernán Cortés was the first to burn at the stake a couple of kikes in 1528, even before the Inquisition was formally established in New Spain.) Yes, it is true that even with such controls some cryptos might have entered spheres of influence. According to one biographer, Bartolomé de Las Casas was of converso heritage, although others refer to Las Casas family as old Christians who migrated from France.

But the larger point is that even if Las Casas (and presumably other cryptos who escaped detection) was of Jewish ancestry, it would be ridiculous to claim that they “caused” the thoroughgoing mestization that, with time, ruined the genetic pool of the conquerors.

Bernal_Diaz_del_Castillo

If you want to breathe the zeitgeist of New Spain I would highly recommend reading the primary sources, starting with the stupendous chronicle of Bernal Díaz del Castillo (d. 1585), The Truthful History of the Conquest of New Spain, i.e., the conquest of Mexico-Tenochtitlan. Bernal was a foot soldier and fought with Hernán Cortés during the conquest of the capital of the Aztec Empire.

You will breath in The Truthful History, right from the beginning of the history of post-Columbian Mexico, how gold and religion provided the zeitgeist or axis around which the Iberian dominion over the Americas would move. Whatever happened in this large part of the American continent it had nothing to do with Jewish subversion. It was the Spanish and the Portuguese doing it to themselves. But judge it by yourself if you are interested in history. Read the primary sources that have been translated to English.

On pre-Hispanic Amerinds, 6

SunStoneColored-NG

 

Tell me which gods you worship and I’ll tell you who you are.

In another chapter of the book El Sacrificio Humano I’ve been reviewing, Marie Areti-Hers, the author of the article on human sacrifice in the Toltec-Chichimeca culture, says that “to penetrate” into the Mesoamerican world one must take into account the complex statue represented by the last incarnation of that world, the “Summa Theologica locked in the formidable images of Coatlicue” (page 241).

The Spaniards placed Our Lady of Guadalupe, the symbol of Catholic Mexicans, on the Hill of Tepeyac. But what the authorities conceal from the Mexican schoolchildren is that precisely on that hill the Aztecs used to worship their goddess. And what a goddess…!

A picture is worth a thousand words. The below photograph shows a stone representation of almost 9 feet high of the Aztec goddess that you can see at the Museum of Anthropology when you visit Mexico City.

diosa-azteca

The Coatlicue is always represented with a skirt of interwoven snakes (nahuatl: Coatlicue, coatl, snake; cueitl skirt). See her collar consisting of a skull flanked by mutilated hands and hearts; her two large snakes that by kissing each other form a hideous face because the goddess’ children had decapitated her and the original face of the mother is missing. See also the phallic snake hanging between her paws like a third leg, paws which look as claws since, in the Aztec imagery, their favorite deity feeds from corpses. (In Tenochtitlan’s houses there were more figurines of the Coatlicue than of Huitzilopochtli, the male god of the Aztecs.) This goddess that devoured human hearts and blood was also the goddess of fertility and of the sacred earth.

The above image has lost its color. How had the statue made its impact when painted with the most violent colors (see the Aztec Calendar above, also of stone) in the pre-Columbian temple? Her aspect was so terrifying that Amerind women entered the shrine headed down to avoid making eye contact with the monster while offering her beautiful flowers.

And not just flowers… As I say in my book, it was said that to placate such goddess sacrifices of juicy infants were needed.

No wonder why the Spaniards chose the hill of Tonantzin-Coatlicue, which used to house the formidable statue, to impose the image of the Lady of Guadalupe they had copied from the Spanish Virgin with the same name. Most Mexicans ignore that the name of the Lady of Guadalupe derives directly from Extremadura, homeland of many conquistadors including Hernán Cortés himself (info in Spanish including an image of the Spanish Guadalupana: here).

Only with such transposition of deities the Spanish conquerors managed to banish the Aztec cult of the terrible mother…

My “pod” cousin

hispania-serie-de-tv

I am reposting the below entry, originally published on November 20, because for a mysterious reason comments were off below this article and I just discovered it a few minutes ago (maybe the reason why this entry had received zero comments). Did I inadvertently click on a wrong button last month?

At any event, now that I have seen more Spanish television series, I must say that what my “snatched” cousin did in Mexico the Spaniards are doing it too at the other side of the Atlantic. For example in the 2010 series Hispania (article of the Spanish wiki: here) the hero and liberator of some Hispanic towns from the Roman invaders, third guy in the above pic, is not an Aryan; and his daughter, not shown above, looked like an Amerindian child. Keep in mind that these series are supposed to depict the peoples of the Iberian Peninsula in the second century B.C., long before the huge mongrelization after the Moor invasion.

I also watched the 2012 prequel of it (article of the Spanish wiki: here) but I have no more liver left to continue to debunk all these silly series. Better repost about—:



My pod cousin


Gerardo-Tort

Recently I have been complaining about the fact that American films and British and Spanish TV series are mediums for either anti-white propaganda or at least not pro-white messages (with the sole exception of the first episode of The White Queen). A naïve person could think that if I approach, instead, a series directed by one of my cousins the message would be a little more positive.

Gritos de Muerte y Libertad (Screams of Death and Freedom) is a Mexican television series based on the period of the war of independence of Mexico, produced by Leopoldo Gómez and directed by my cousin Gerardo Tort (pic above) and the lesbian Mafer Suárez. Several writers wrote thirteen episodes of the first season of the series advised by a group of historians. The series premiered on August 30, 2010 to mark the bicentenary of the independence of Mexico from Spain and ended on September 16 of that year.

I have already quoted Mexican intellectual José Vasconcelos (1882-1959) in this blog stating that the war of independence was “supposed to destroy the Spaniards, who represented the force and culture of the country… all under the pretext of freeing the Indian.” And two months ago I revealed here some hidden facts about Miguel Hidalgo y Costilla, the father of the Mexican independence.

All 19th century paintings of Hidalgo, like the one you see in the Wikipedia article about him, are fake. All were based on an original portrait of an Aryan man of Austrian origin who posed as Hidalgo because nobody had painted a portrait of the real Hidalgo by the time he was elevated to the status of father of the independence, and the man was long dead and the new nation needed a noble face to honor (just as the Americans have their portraits of George Washington).

Well, original spoken reports describe Hidalgo not like an Aryan but with hooked nose. What does it mean?

That the overwhelming majority of Mexicans ignore that the Catholic priest Hidalgo was probably the son of Jewish conversos. Presently even the Mexican Jews, no longer in the need to hide the Jewishness of their people, have acknowledged it.

Of course: my cousin Gerardo Tort was only a hired hand to direct a script written by others. But since I know him I surmise that he did not object the anti-Spain bias of the script. It is worth mentioning that at the beginning of the century Gerardo Tort had made an “author film” about homeless kids in Mexico City, and later filmed a documentary of his own about a Mexican guerrilla fighter he admires and perfectly fits his lefty ideology. I had not watched the series Gritos de Muerte y Libertad until yesterday [November 19, 2013] but now that I am reviewing other television series I would like to say something about it.

In the first episode one of the pro-Spain characters says these words (in Spanish of course) about the pro-independence movement, “Imagine a government of Creoles [Criollo people], Indians, Mestizos and Mulattos!”

Yes: thoroughgoing leftists like my cousin know that ultimately the struggle is racial. But race conveniently disappears when Whites claim majority rights—or even minority rights in the case of New Spain. In Gritos de Muerte y Libertad what I found most surreal is that the overwhelming majority of upper class New Spaniards are depicted as Mestizos or Castizos (slightly whiter Mestizos), not even as Harnizos (Iberian whites with a distant drop of Amerind blood) or true Iberian whites. The script that Gerardo Tort directed mentions “Creoles” many times in the textual dialogues, but during the casting he selected Mestizo actors. Phenotypical Creoles do appear in the next episode, but that episode was directed by the lesbian.

gritos-de-muerte-y-libertad

Most surreal of all is that the Aryan-looking actor who was chosen for Hidalgo by both directors, the actor at the far left in the pic, was—not in the series but in real history—a kike with even the prototypical hooked nose, according to the spoken testimony of those who had seen the historical Hidalgo in the flesh. Also, in Gritos de Muerte y Libertad my cousin depicts José de Iturrigaray, the Viceroy of New Spain from 1803 to 1808 (standing in the pic with a ridiculous wig), as an ignoble character; and for María Inés de Jáuregui y Aróstegui, his wife, he chose a Mestiza actress (wasn’t the historical Inés an Iberian White too?).

So you have Gerardo Tort, the phenotypical Creole, filming the Spanish Viceroy as the bad guy and the kike Hidalgo as the good guy of his movie. This said, I doubt that Gerardo knows that the historical Hidalgo was genetically Jewish. Like all Mexican leftists he is sleeping in a profound Matrix.

In the other episodes of the series that my cousin also directed a dialogue caught my attention. A woman asks Hidalgo: “Removing the command from the Europeans and handing it over—to who?” at the time of delivering a hostile look to a Mexican Indian beside her. Of course: the woman is depicted almost as a bigot.

Gritos de Muerte y Libertad includes explanatory notes to clarify the supposed historical events for the Mexican audience. In one of these texts it is announced that, once in jail and excommunicated by the Catholic Church, Hidalgo actually repented that the mud mobs he had commanded massacred civilians in the Alhóndiga de Granaditas—a ridiculous claim since Hidalgo was very well known for his cri de guerre “¡Viva la Virgen de Guadalupe y mueran los gachupines!” (“Life to the Virgin of Guadalupe and death to the Spaniards!”).

So clearly racial is the script of Gritos de Muerte y Libertad that it includes these words by a fearing Viceroy when Hidalgo’s mud mobs reached the capital of New Spain, “This is the main square of the Spanish crown! And no horde of Zambos [half-breeds of Amerinds and imported Negroes] will claim it ever!” This was the Viceroy who succeeded José de Iturrigaray, but my cousin also puts him under bad light.

In subsequent episodes, Gerardo Tort has Hidalgo incarcerated prior to his shooting after having lost important battles with the troops loyal to Spain. Once again my cousin used a Mestizo actor for the jailer. Hidalgo recounts his adventures to the jailer and is depicted as noble and wise. The jailer even recognizes that Hidalgo “is a good man, a son of God.” At least in that monologue my cousin has Hidalgo recognizing that in Guanajuato his furious mobs killed women and children, but he didn’t dare to film the actual scenes showing the Mexican public that the victims were probably White, and the assassins Indians and Zambos.

Gerardo Tort filmed the platoon that shot Hidalgo, again, as a group of slightly mesticized Indians. I wonder if machines to see the past are ever invented and we could see the historic scene rather as whiter men shooting an obvious kike? But before the shooting Hidalgo delivers candies—yes: candies!—to his executioners and after the shooting one of them is on the verge of tears. How moving.

There are two DVDs in the product Gritos de Muerte y Libertad that I acquired yesterday, the next one dealing with Hidalgo’s successor, the mulatto José María Morelos, who continued the killing of Iberian whites after the death of his mentor. But I don’t have any humor left to watch this second DVD.

A few years ago, here in Mexico City some nacos (insulting pejorative for Indian-looking residents of Mexico City, analogous to what in the US is called “nigger”) assaulted Gerardo’s brother. Curiously, one of Gerardo’s two sisters once told me during a private conversation that the nacos must “have the same rights.”

Yes… all of my relatives are now Pod people. And a worse kind of Pods to boot than the American liberals since among older American folks there is at least the memory of their nation being mostly White. Those who have watched the 1956 film Invasion of the Body Snatchers for instance can see a nice California town populated exclusively by Whites. This was California before Aztlán took over.

Mexico, even since the three centuries when it was known as New Spain, has experienced no less than half a millennium of miscegenation. The remaining Creoles have been so thoroughly indoctrinated through centuries of Christian and liberal propaganda that the sole mention of avoiding intercourse with the mudbloods would be considered a kind of unheard of heresy. I would go as far as claim that after the dollar crashes dragging the Mexican peso with it and after my native town burns, the apocalyptic shock won’t be enough to awaken the remaining Creoles (like Gerardo) from their catatonic sleep.

On Spain and literature – III

retrato de soledad anaya

The reason I almost never include poetry in this blog is simple. Very, very rarely a poem reaches the innermost of my soul. The first poem that reached me was one by Luis de Góngora, which I read in the textbook of Miss Anaya (photo) in my middle teens.

Góngora was a Baroque poet of the golden age of Spain. He, and his contemporary Francisco de Quevedo (about whom I have to quote something in the future), are considered the most prominent Spanish poets of all time. Góngora flourished by the end of the 16th and the beginning of the 17th centuries, when the Spanish language reached its maximum degree of perfection. Anaya, my former school teacher, tells us in Literatura Española that later in his life Góngora became a priest and lived in a chaplaincy of honor in Madrid in the palace of King Philip III.

Góngora composed his Sonnet LCXVI when he was twenty-one years old:

Mientras por competir con tu cabello
Oro bruñido el sol relumbra en vano,
Mientras con menosprecio en medio el llano
Mira tu blanca frente al lilio bello;

Mientras a cada labio, por cogello,
Siguen más ojos que al clavel temprano,
Y mientras triunfa con desdén lozano
Del luciente cristal tu gentil cuello,

Goza cuello, cabello, labio y frente,
Antes que lo que fue en tu edad dorada
Oro, lilio, clavel, cristal luciente,

No sólo en plata o vïola troncada
Se vuelva, más tú y ello juntamente
En tierra, en humo, en polvo, en sombra, en nada.

 

Following is Edward Churton’s translation. Góngora’s urgent appeal to a young blonde nymph to enjoy her youth before time destroys her made a huge impression in the lad I was:
 

While to contend in brightness with thy hair
Sunlight on burnished gold may strive in vain,
While thy proud forehead’s whiteness may disdain
The lilies of the field, which bloom less fair,
While each red lip at once more eyes will snare
Than the perfumed carnation bud new born,
And while thy graceful neck with queenly scorn
Outshines bright crystal on the morning air:

Enjoy thy hour, neck, ringlets, lips, and brow;
Before the glories of this age of gold:
Earth’s precious ore, sweet flowers, and crystal bright
Turn pale and dim; and Time with fingers cold
Rifle the bud and bloom; and they, and thou
Become but ash, smoke, shadow, dust and night.

On Spain and literature – II

“Zionist Occupied Government? Pffft! Zionist Occupied Culture? Closer. Zionist Occupied Soul? Bingo! The Inner Jew.”

—Sebastian Ronin

retrato de soledad anaya
 
On page 227 of her textbook, Soledad Anaya mentions that Naples and Sicily, Flanders, Germany, Hungary and Bohemia; Portugal and all the kingdoms of Spain itself became subject to the scepter of Charles V, the Holy Roman Emperor, in addition to the rich new lands of America. Anaya mentions that the subsequent, various Philip kings lost, one by one, all the European lands; and she also recounts in passing the religious wars that ripped Christendom apart. On the same page, Anaya began her introduction of one of the Spanish poets of the time, Luis de León, born in 1527, “who has been described as the greatest of the Spanish lyricists.” Luis de León professed in the Convent of St. Augustine and was a teacher of theology and scriptures. But at the very end of that same page, Anaya tells us that in 1572 he was put in jail by the Inquisition of Valladolid, accused of not having the Vulgate as authentic, something considered contrary to the warnings of the Council of Trent.

I made a pause while reading that page and thought about writing an entry, “Iberian blunder on a colossal scale.” But it is a huge subject and I must limit myself to mention only a couple of thoughts of my soliloquy.

Precisely what I value the most about my favorite philosopher of the Greco-Roman world, Porphyry or Tyre, is that he could have prevented what the Führer called the greatest calamity that fell upon the white race: Christianity (for a couple of entries explaining my admiration of Porphyry, see here and here). It comes as a shocker to see that, unlike Revilo Oliver, Ben Klassen, William Pierce and others, most American white nationalists still stick to their parents’ religion. This month for example, Matt Parrott wrote in his Facebook page, “I’ll be praying for his [Craig Cobb] merciful treatment, for his health and vitality, and for his discovery of our Lord and Savior Jesus Christ while he’s being persecuted.”

Wow. I wonder if Americans know how and why the Iberians lost their power in both Europe and the Americas? It was precisely what Spain did not tolerate in Luis de León; precisely what Christian Rome did not tolerate in Porphyry, what caused the fall of both Rome and Spain.

I have added to WDH many entries on how this Semitic-inspired religion (“prolefeed for the gentiles”) did not pay any attention to the racial boundaries. But the real point is that white nationalism, as a project that doesn’t reject our parents’ faith, is a lost cause insofar as the Christian problem has been more serious than the Jewish problem, even according to Hitler’s table talk.

Sebastian Ronin also believes that white nationalism is a non-starter. It should be a no-brainer among racialists that, in order to save the race, the first thing to do is to abandon the faith that amalgamated the Aryan psyche with the Semitic one. Only in such way it is possible to understand, as Tom Sunic does, why the US committed the vilest act in all Western history: siding the subversive tribe against her brothers in the century when we were born, and perpetrating with the other Allies a true Holocaust of Germanic people. Although Sunic has been video-recorded as politely saying to white nationalist Christians “Give up this Christianity!” I see no reason why not saying the same in more direct terms:

There’s no way to save the white race except by rejecting the Inner Jew to use Ronin’s words in the epigraph above, which I interpret as rejecting the symbol “Jesus Christ.” So let’s start with the very honorific name of this semi-historical or completely fictional personage, whoever he was. Just as “The Buddha” is a title of the very human Siddhattha, “Jesus Christ” is a title of the very human Yeshu.

Johnson’s doublethink

Greg Johnson has visited this site quite a few times since I published “Johnson’s amnesty.” Instead of accepting defeat he has now published a scholarly article by Ted Sallis with his hatnote: “The following essay is one of the most important pieces published at Counter-Currents so far.”

It is difficult to rebut the obvious sophistry of Sallis precisely because the piece is scholarly and, although I took a biology course at the Open University in my forties, I am no expert on genetics. It is easier to point out to Johnson’s incredible doublethink, as in this comment:

“White” to me just means “European,” which includes a whole range of skin tones, from the whitest white to brown.

Wow! This redefinition of “white,” that the most radical anti-white leftist would wholeheartedly embrace, means that Johnson is asking us not to make any substantial distinction between those Southern Mediterranean mudbloods and the purest Scandinavians!

nordic

(A pure white Nordid.)

Would Johnson agree of a marriage between a pure Nordid, let’s say the sister of the young man of the pic, and a brown Sicilian to bring to the world cute coffee-and-milk kids? And what would be the next step? Massive Sicilian immigration into Scandinavia because according to Johnson both are “whites,” thus mongrelizing away—and this time forever—what is left of the pure Nordids?

sicilian-man

(A brown Sicilian man. Sicilian mongrelization with Whites started since the Semitic Carthaginians dominated the island.)

Johnson’s definition of “white” deserves inclusion in my Dictionary of Newspeak. As to the other commenters of Sallis’ piece, I stick to what I implied in “Johnson’s amnesty” about the Counter-Currents commentariat: they still seem totally ignorant about the new racial classification (see last line).

In another comment of the same thread, Johnson said:

“Ancient admixture is OK. That is simply part of our identity, not something extraneous to it… As for recent admixture, lines must be drawn.”

Doublethink! Ancient Spaniards mixing genetically with the Moors and the Semites during centuries 8th to 15th was “OK” but today, regarding the identical mixing taking place in Spain (or France), lines must be drawn? Right? Johnson again:

The further back the admixture, the greater the chance that the alien genes have washed out.

Johnson has not visited the Iberian Peninsula. Has he? In my most recent visit to Spain I was annoyed that some Spaniards didn’t look to me like white at all, nor did some of them acted white, thought white, and fought white (in spite of the fact that some of the purer Spaniards do). There has been no washing out of the Arab and Semitic genes since the 15th century certainly: eight centuries of miscegenation left a permanent mark among all Iberians (actually, a permanent mark on myself!).

Read the first installment of the truly scientific article “The New Racial Classification” before you give some credit to what Johnson just tagged as “one of the most important pieces published at Counter-Currents so far…”

On Spain and literature – I

Annoyed at the infamous TV series Toledo I tried to find some consolation in the epic film El Cid, “a romanticized story of the life of the Christian Castilian knight Don Rodrigo Díaz de Vivar, called ‘El Cid’, who in the 11th century fought the North African Almoravides and ultimately contributed to the unification of Spain.” But even that movie released in 1961 starts with a politically-correct scene. El Cid, interpreted by Charlton Heston, spares the live of a Moorish king in the hope that the Moor will behave in the future after an anti-Christian raid (and in fact he behaves like a gentleman in the rest of the film). Then in the royal palace El Cid has a private conversation with the woman he loved, acted by Sophia Loren, and makes a speech about his pacifist intentions when he is accused of treason for having spared the life of the Muslim king.

Well, well… What about forgetting old and new movies altogether and focus instead in the Spanish literature of the Middle Ages? What will we find there? Big surprise: the historical “Cid” found some work fighting for the Muslim rulers of Taifa of Zaragoza! This happened after his falling out of favor of Alfonso VI, king of León and Castile, who in 1081 ordered Rodrigo Díaz’s exile.

But what else can the literature of the age say about the ethno-nationalist mores, values, moral grammar and zeitgeist of medieval Spain? Let’s take a look…

retrato de soledad anaya

This is a photograph of Soledad Anaya Solórzano (1895-1978), who graduated in Spanish letters at Guadalajara in Mexico. From 1920 to 1923 she served as Director of Primary and Higher Education in the Mexican government. She also taught Spanish literature, a field that she mostly loved, and was the Principal of the Secundaria Héroes de la Libertad until her death (the Middle School in Mexico City where I studied). Of course, when Miss Anaya taught me she was in her late seventies and looked a little older than in the photo, but she still was in command of her intellectual capacities. Anaya never married and was the single author of Literatura Española (1941), a textbook of more than thirty editions that we used in her classroom and I will use below and in the coming entries on the subject of Spain. I must say that in the first chapters of Anaya’s textbook, first published during the Second World War, she unabashedly uses the word “arios” (Aryan) when referring to the first conquerors of the Iberian Peninsula.

However, about the first ancient text that Anaya analyzes, the 8th century legend of King Rodrigo and the Loss of Spain (pages 28-31), the jew-wise reader is shocked to see that no accusation is made of Jews inviting any Muslim into the peninsula. The old legend tells instead that Florinda, a Visigothic maid (a purely Aryan young woman) was seduced by King Rodrigo, another Iberian white, in Rodrigo’s castle. As revenge the Count Julián, Florinda’s father, “opened Spain to Muslim expansion” Anaya wrote: an expansion that had been previously contained by the Count himself. The Moors then invaded the peninsula “and easily destroyed the Visigothic power that already was much debilitated.” Anaya adds that “it is not known what happened to King Rodrigo, who caused so much harm” and that the “historical happenings related to this legend occurred in 711 A.D.” Note that King Rodrigo, not Count Julián (or the Moors, or a purported Jew who opened the gates) is blamed. Presumably, the accent of the legend was on the sense of honor among the Iberians of those remote times.

Later, on pages 40-47 of the textbook I used in my middle teens, Anaya mentions the case of the legend of The Seven Infants of Lara, which recounts other Iberian whites using other Moors to take revenge about other cases of Aryan offences! This very famous medieval tale has Gonzalo Gustios, the crying father of the seven decapitated white boys in Córdova, marrying Aixa, the daughter of Almanzor (Almanzor, who had imprisoned Gonzalo Gustios, was one of the most powerful characters in the Caliphate). Mudarra González, the mongrel son of the Christian Gonzalo Gustios and the Muslim Aixa, is the one who is destined to avenge the father. The victim of course is not Almanzor, the Moor that ordered the decapitation of the boys on behalf of the valiant knight Ruy Vásquez. The victim is Ruy Vásquez himself that the mongrel dispatches at the end of the story.

Once more, for the medieval Spaniard race did not seem to be the central issue at all: but a knightly sense of honor, especially during in-group vendettas.

In the next chapter Anaya approaches the ancient texts about El Cid. His life inspired the most important epic poem of Spanish literature: the Cantar de mio Cid. Now that I reread her book after forty years of reading it for the first time I was shocked to see Anaya’s sentence that El Cid was “the terror of Moors and Christians” (my emphasis). When I finished the chapter I was surprised to learn that El Cid’s fame was not entirely based on the feat of expelling some Moors from the peninsula, but mainly on the chivalrous character of this historical (and legendary) figure of the Reconquista.

This, and similar cases I’ll be recounting in these brief series about the classics of Spanish literature, moves me to expand the category of this blog previously known as “White suicide” as the “Aryan problem (white suicide).”

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